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Journal articles on the topic 'Blackface Minstrelsy'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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

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2

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 com

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3

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

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4

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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5

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 Hot

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6

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 performe

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7

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 pra

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8

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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9

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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10

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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11

Thompson, Cheryl. "Black Minstrelsy on Canadian Stages: Nostalgia for Plantation Slavery in the Nineteenth and Twentieth Centuries." Journal of the Canadian Historical Association 31, no. 1 (2021): 67–94. http://dx.doi.org/10.7202/1083628ar.

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Blackface minstrelsy, which began in the American northeast in the 1820s and 1830s, featured White, mostly male performers, who crossed racial boundaries by mimicking African Americans with the supposedly “authentic” music, humour, and dance ostensibly common on southern plantations. By the 1860s, newly emancipated African Americans also performed on stages in blackface. By the end of the nineteenth century, however, Black actors performed out of blackface, but they were still required to perpetuate stereotypes plucked from the plantation. These troupes were led by both Black and White manager

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12

Blake, George K. "A strictly American institution: Neil O'Brien, blackface minstrelsy, and the invention of white Catholic identity." Popular Music 38, no. 03 (2019): 379–98. http://dx.doi.org/10.1017/s0261143019000321.

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AbstractThis article examines the politics of race, religion and nation in relation to blackface minstrelsy during the first decades of the twentieth century. Having been superseded by more modern amusements, minstrelsy was outdated as a performance genre, yet the minstrel show served as a forum for Neil O'Brien and the Knights of Columbus fraternal society to participate in the invention of a white American Catholic identity. For fraternal society members, estranged from national belonging by religious difference, these performances situated the group as proponents of an old-fashioned America

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13

Dougan, John, Annemarie Bean, James V. Hatch, Brooks McNamara, William J. Mahar, and W. T. Lhamon Jr. "Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy." American Music 19, no. 3 (2001): 360. http://dx.doi.org/10.2307/3052478.

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14

Longazel, Jamie. "‘Blue Lives Matter’ and the legacy of blackface minstrelsy." Race & Class 63, no. 1 (2021): 91–106. http://dx.doi.org/10.1177/03063968211012276.

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This article situates the pro-police countermovement, ‘Blue Lives Matter’, within the legacy of blackface minstrelsy. An analysis of various ‘racial performances’ shows how, like its minstrel forbearers, the rebuttal to Black Lives Matter subscribes to a dual identity: envious, fetishistic ‘love’ of Black people on one hand, visceral contempt accompanied by often-violent fantasies on the other. It is argued that by racialising themselves as ‘blue’, the countermovement seeks to expropriate the virtue associated with racial victimisation and articulate their racial fantasies about how Black folk

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15

Blair, John G., and Eric Lott. "The Cultural Complexity of Blackface Minstrelsy." American Quarterly 47, no. 3 (1995): 537. http://dx.doi.org/10.2307/2713300.

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16

OSBORNE, RICHARD. "'Blackface' minstrelsy from Melville to Moby." Critical Quarterly 48, no. 1 (2006): 14–25. http://dx.doi.org/10.1111/j.1467-8705.2006.00683.x.

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17

Mattingly, Kate. "Mutually Reinforcing: Blackface Minstrelsy and Expropriation." Dance Chronicle 47, no. 3 (2024): 579–82. http://dx.doi.org/10.1080/01472526.2024.2362517.

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18

Featherstone, Simon. "The Blackface Atlantic: interpreting British minstrelsy." Journal of Victorian Culture 3, no. 2 (1998): 234–51. http://dx.doi.org/10.1080/13555509809505964.

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19

Jones, Douglas A. "Black Politics but Not Black People: Rethinking the Social and “Racial” History of Early Minstrelsy." TDR/The Drama Review 57, no. 2 (2013): 21–37. http://dx.doi.org/10.1162/dram_a_00259.

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Although American blackface minstrelsy in its early period (1829–1843) esteemed the anti-authoritarian potentiality of black alterity, the form's performers and most influential public (the white working class of the urban northeast) spurned actual black people. In minstrelsy they fashioned “blackness,” a new “race” with which to distinguish themselves from socioeconomic elites as well as African Americans.

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20

Banta, Emily. "Staging Comedy’s Ends: Minstrel Embodiment in Branden Jacobs-Jenkins’s Neighbors." Theatre Topics 34, no. 2 (2024): 159–66. http://dx.doi.org/10.1353/tt.2024.a932208.

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Abstract: This article examines Branden Jacobs-Jenkins’s dramatic comedy Neighbors (2010) to explore how contemporary African American engagements with the legacies of blackface minstrelsy interrogate the genre’s stubborn persistence and offer important new approaches to historicizing comedy. A play that stages a live minstrel show for twenty-first-century audiences, Neighbors toggles between outrageous spectacles of blackface caricature and contemporary family drama, constructing a warped reality where the fraught theatricality of blackface overlays and infuses the race relations of everyday

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21

Koropeckyj, Roman, and Robert Romanchuk. "Ukraine in Blackface: Performance and Representation in Gogol'’s Dikan'ka Tales, Book 1." Slavic Review 62, no. 3 (2003): 525–47. http://dx.doi.org/10.2307/3185805.

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In this article, Roman Koropeckyj and Robert Romanchuk present a Lacanian reading of the preface and “The Fair at Sorochintsy” from Nikolai Gogol’s Evenings on a Farm near Dikan'ka, vol. 1 (1831), viewed through the prism of American blackface minstrelsy. They trace representations of ethnicity and class in Gogol'’s “performance” of Ukraine. Their analysis of the preface demonstrates how Pan'ko’s Ukraine reaches a Russian lowerclass audience through the intervention of the gaze of an Other, an elite nonreader. The self-absenting of this Other opens a space for the audience’s imaginary identifi

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22

GOPINATH, SUMANTH. "Reich in Blackface: Oh Dem Watermelons and Radical Minstrelsy in the 1960s." Journal of the Society for American Music 5, no. 2 (2011): 139–93. http://dx.doi.org/10.1017/s1752196311000022.

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AbstractThis essay undertakes an examination of Steve Reich's music for Robert Nelson's film Oh Dem Watermelons (1965), which was originally conceived as part of the San Francisco Mime Troupe's controversial production A Minstrel Show, or Civil Rights in a Cracker Barrel of the same year. Reich's long-neglected soundtrack deserves reconsideration for its formative role in the development of the composer's musical style and quasi-liberationist aesthetic at the time, for its participation within what I term the “minstrel avant-garde” in the Bay Area during the mid-1960s and the postmodern reviva

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23

Sacks, Howard L. "Cork and Community: Postwar Blackface Minstrelsy in the Rural Midwest." Theatre Survey 41, no. 2 (2000): 23–50. http://dx.doi.org/10.1017/s0040557400003811.

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Nearly a century-and-a-half after urban professional entertainers first attained instant popularity for music, dance, and humor performed in blackface, amateur minstrels in the rural Midwest continued to pack school auditoriums and smalltown theaters with their homespun variety. Blackening their hands and faces with storebought makeup (the modern equivalent of the burnt cork of the nineteenth century), farmers and schoolteachers sang spirited renditions of “There's Nothin Like a Minstrel Show” mechanics and school board members donned tutus in an exotic ballet burlesque; and a realtor with a r

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24

Pickering, Michael. "John Bull in blackface." Popular Music 16, no. 2 (1997): 181–201. http://dx.doi.org/10.1017/s0261143000000362.

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For a mid-twentieth century historian of the music hall, blackface minstrelsy was the ‘oddest form of entertainment imaginable’. He found it ‘incomprehensible’ why people during the Victorian period had delighted in the ‘extraordinary spectacle of the apparently sane white man blacking his face and hands with burnt cork, painting his lips and eyes to resemble those of an African nigger, and then, to complete the incongruity, attiring himself in English evening dress while he sang ditties allegedly emanating from the cotton plantations of Ole Virginny!’ (Felstead 1946, p. 55). There are a numbe

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25

Atassi, Sami H. "Remediating Antebellum Laughter: Sheppard Lee , Bert Williams, and the Subversion of Blackface in Get Out." JCMS: Journal of Cinema and Media Studies 62, no. 5 (2022): 147–67. http://dx.doi.org/10.1353/cj.2022.a907195.

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abstract: This article examines the literary and cinematic use of blackface typically employed to dehumanize and mimic Black life, arguing that Jordan Peele's 2017 film Get Out is a contemporized reframing of blackface through use of the Coagula transplantation procedure and the "Sunken Place." Unlike precursors Sheppard Lee: Written by Himself (1836) and the minstrelsy of actor Bert Williams, Get Out 's depiction of the Sunken Place and especially the performance of actress Betty Gabriel are meant to dismantle rather than propagate the weaponization of blackface and "antebellum laughter" trop

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26

JARRETT, GENE. ""ENTIRELY BLACK VERSE FROM HIM WOULD SUCCEED." Nineteenth-Century Literature 59, no. 4 (2005): 494–525. http://dx.doi.org/10.1525/ncl.2005.59.4.494.

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In a letter to a literary editor about promising American writers, William Dean Howells asserted that "a book of entirely black verse" from the African American poet Paul Laurence Dunbar "would succeed." Howells's appreciation of the racial authenticity of Dunbar's dialect poetry belongs to a larger critical and commercial demand for "minstrel realism" in postbellum nineteenth-century American culture. The racialism of blackface minstrelsy created a cultural precondition in which postbellum audiences regarded Black minstrelsy (that is, minstrelsy performed by Blacks) as realistic. This reactio

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27

Rosset, Nathalie. "Blackface Minstrelsy in Britain. By Michael Pickering." Cultural and Social History 7, no. 1 (2010): 137–39. http://dx.doi.org/10.2752/147800410x477458.

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28

Byrd, Joseph. "Whitewashing Blackface Minstrelsy in American College Textbooks." Popular Music and Society 32, no. 1 (2009): 77–86. http://dx.doi.org/10.1080/03007760802207882.

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29

Lopez, Qiuana. "Minstrelsy speaking: Metaparodic representations of blackface and linguistic minstrelsy in Hollywood films." Discourse, Context & Media 23 (June 2018): 16–24. http://dx.doi.org/10.1016/j.dcm.2017.09.011.

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30

Ha, Hyoseol. "Black Madness Masquerade in a Nineteenth-Century American Asylum." Canadian Journal of Disability Studies 13, no. 3 (2024): 226–51. https://doi.org/10.15353/cjds.v13i3.1168.

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At a crossroads where Black madness meets white sanism, Black bodyminds perish. What happens, then, at a juncture where white madness meets Blackness? This essay explores this intimate point of contact, focusing on the New York State Lunatic Asylum’s institutional journal, The Opal (1851-1860), and blackface minstrel shows produced by an inmate performance group named Blackbird Minstrels. It examines the tension and dissonance that permeate these cultural productions by white women inmates who appropriated Blackness – in forms of Black ventriloquy and blackface minstrelsy – to create safe spac

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31

Lensmire, Timothy J., and Nathan Snaza. "What Teacher Education Can Learn From Blackface Minstrelsy." Educational Researcher 39, no. 5 (2010): 413–22. http://dx.doi.org/10.3102/0013189x10374980.

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32

Mahar, William J. ""Backside Albany" and Early Blackface Minstrelsy: A Contextual Study of America's First Blackface Song." American Music 6, no. 1 (1988): 1. http://dx.doi.org/10.2307/3448343.

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33

Lott, Eric. "Love and Theft: The Racial Unconscious of Blackface Minstrelsy." Representations 39, no. 1 (1992): 23–50. http://dx.doi.org/10.1525/rep.1992.39.1.99p0120h.

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34

Lott, Eric. "Love and Theft: The Racial Unconscious of Blackface Minstrelsy." Representations 39 (1992): 23–50. http://dx.doi.org/10.2307/2928593.

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35

Lott, Eric. ""The Seeming Counterfeit": Racial Politics and Early Blackface Minstrelsy." American Quarterly 43, no. 2 (1991): 223. http://dx.doi.org/10.2307/2712925.

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36

Nowatzki, Robert. "Paddy Jumps Jim Crow: Irish-Americans and Blackface Minstrelsy." Éire-Ireland 41, no. 3 (2006): 162–84. http://dx.doi.org/10.1353/eir.2007.0010.

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37

Miller, Randall M., and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." American Historical Review 100, no. 5 (1995): 1658. http://dx.doi.org/10.2307/2170058.

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38

Nelson, Dana D., and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." Journal of the Early Republic 15, no. 2 (1995): 321. http://dx.doi.org/10.2307/3123924.

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39

Winans, Robert B., and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." American Music 13, no. 1 (1995): 109. http://dx.doi.org/10.2307/3052314.

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40

Berube, Michael, and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." American Literature 66, no. 4 (1994): 842. http://dx.doi.org/10.2307/2927714.

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41

Gilmore, Paul. ""De Genewine Artekil": William Wells Brown, Blackface Minstrelsy, and Abolitionism." American Literature 69, no. 4 (1997): 743. http://dx.doi.org/10.2307/2928342.

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42

Stott, Richard, and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." Journal of Southern History 61, no. 2 (1995): 377. http://dx.doi.org/10.2307/2211597.

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43

Salem, Lori Anne, and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." Dance Research Journal 28, no. 1 (1996): 76. http://dx.doi.org/10.2307/1478109.

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44

Brown, Elspeth, and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." Journal of American History 83, no. 1 (1996): 197. http://dx.doi.org/10.2307/2945517.

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45

Quirk, Tom, and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." African American Review 29, no. 3 (1995): 512. http://dx.doi.org/10.2307/3042408.

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46

Pettersen, David. "Transnational blackface, neo-minstrelsy and the ‘French Eddie Murphy’ inIntouchables." Modern & Contemporary France 24, no. 1 (2015): 51–69. http://dx.doi.org/10.1080/09639489.2015.1092430.

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47

Grimsted, David, and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working Class." Journal of Interdisciplinary History 26, no. 3 (1996): 535. http://dx.doi.org/10.2307/206076.

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48

McConachie, Bruce A., and Eric Lott. "Love and Theft: Blackface Minstrelsy and the American Working-Class." TDR (1988-) 40, no. 1 (1996): 175. http://dx.doi.org/10.2307/1146517.

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49

Peter Maber. "“So-called black”: Reassessing John Berryman’s Blackface Minstrelsy." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 64, no. 4 (2008): 129–49. http://dx.doi.org/10.1353/arq.0.0023.

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50

Davis, Melody. "Minstrelsy, Blackface, and Racialized Performance in Narrative Stereoviews, 1860-1902." International Journal on Stereo & Immersive Media 6, no. 1 (2022): 70–89. http://dx.doi.org/10.24140/ijsim.v6.n1.04.

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