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Journal articles on the topic 'Blackface'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 June 2025

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1

Roxworthy, Emily. "Blackface Behind Barbed Wire: Gender and Racial Triangulation in the Japanese American Internment Camps." TDR/The Drama Review 57, no. 2 (2013): 123–42. http://dx.doi.org/10.1162/dram_a_00264.

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In a dark footnote to a dark chapter in US history, Japanese Americans interned by their own government during World War II performed in blackface behind barbed wire. Exploring blackface performance in the camps raises questions regarding the potential resistance of racial impersonation and blackface's potential for triangulating race.

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2

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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3

Havig, Alan, and Melvin Patrick Ely. "Blackface Radio." Reviews in American History 20, no. 3 (1992): 360. http://dx.doi.org/10.2307/2703159.

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4

D’hondt, Sigurd. "Confronting blackface." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 30, no. 4 (2019): 485–508. http://dx.doi.org/10.1075/prag.18039.dho.

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Abstract Recently, the Netherlands witnessed an agitated discussion over Black Pete, a blackface character associated with the Saint Nicholas festival. This paper analyzes a televised panel interview discussing a possible court ban of public Nicholas festivities, and demonstrates that participants not only disagree over the racist nature of the blackface character but also over the terms of the debate itself. Drawing on recent sociolinguistic work on stancetaking, it traces how panelists ‘laminate’ the interview’s participation framework by embedding their assessments of Black Pete in contrasting dialogical fields. Their stancetaking evokes opposing trajectories of earlier interactions and conjures up discursive complexes of identity/belonging that entail discrepant judgments over the acceptability of criticism. The extent to which a stance makes explicit the projected field’s phenomenal content, it is argued, reflects the relative (in)visibility of hegemonic we-ness.

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5

Miletic, Philip. "Avatar 'n' Andy." Loading 13, no. 21 (2020): 34–54. http://dx.doi.org/10.7202/1071450ar.

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Despite recent criticisms that call out blackface in video game voice acting, the term “blackface” was and still is seldomly used to describe the act of casting white voice actors as characters of colour. As a result, the act of blackface in video game voice acting still occurs because of colorblind claims surrounding the digital medium and culture of games. In this paper, I position blackface in video game voice acting within a technological and cultural history of oral blackface and white sonic norms. I focus on three time periods: the Intellivision Intellivoice and the invention of a "universal" voice in video games; early American radio in the 1920s-1930s and the national standardization of voice; and colorblind rhetoric of contemporary game publishers/devs and voice actors.

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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 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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7

CARSON, A. F., D. IRWIN, and D. J. KILPATRICK. "A comparison of Scottish Blackface and Cheviot ewes and five sire breeds in terms of lamb output at weaning in hill sheep systems." Journal of Agricultural Science 137, no. 2 (2001): 221–33. http://dx.doi.org/10.1017/s0021859601001277.

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A study was carried out on six hill farms in Northern Ireland over 2 years (1996–1998) to investigate the effect of ewe and ram breed on ewe prolificacy, lamb viability and weaned lamb output. On each farm, groups of 40 Scottish Blackface ewes (mature weight of 53·8 kg) were mated to Scottish Blackface, Blue-Faced Leicester and Texel rams. Similarly, groups of 40 Wicklow Cheviot ewes (mature weight 63·7 kg) were mated to Cheviot, Suffolk and Texel rams. All ewe×ram breed combinations were present on each farm. Overall, ewe prolificacy was similar in Blackface and Cheviot ewes (1·52 and 1·55 (S.E. 0·026) lambs born/ewe lambed). However, there was a farm×ewe breed interaction (P < 0·001) indicating that, whilst prolificacy was similar in Blackface and Cheviot ewes on the majority of farms (4 out of 6), on one farm prolificacy was higher in Blackface and on another lower, compared with Cheviot ewes. There were no farm×breed interactions for any of the other main production traits. The proportion of ewes lambing without assistance was higher in Cheviot compared with Blackface ewes when crossed with Texel sires (P < 0·001). Cheviot ewes produced heavier Texel-sired lambs compared with Blackface ewes (4·76 versus 4·51 (S.E. 0·076) kg; P < 0·05). Mortality levels were similar in lambs produced from Blackface and Cheviot ewes. The weight of lamb weaned per ewe was higher in Cheviot compared with Blackface ewes (41·5 versus 38·8 (S.E. 1·01) kg/ewe lambed; P < 0·05). However, the weight of lamb weaned per kg of ewe metabolic weight did not differ significantly between the breeds.With Blackface ewes, the proportion of ewes lambing without assistance was lower for Blue-Faced Leicester compared with Blackface sires (P < 0·001). In addition, the proportion of ewes lambing without assistance was lower (P < 0·001) for Texel compared with both Blackface and Blue-Faced Leicester-sired lambs. Lamb birth weights were higher in Blue-Faced Leicester (P < 0·05) and Texel (P < 0·001) compared with Blackface-sired lambs (4·38, 4·51 and 4·09 (S.E. 0·076) kg, respectively). Similarly, the weight of lamb weaned per ewe lambed was higher (P < 0·001) with Blue-Faced Leicester and Texel compared with Blackface sires (39·8, 38·8 and 33·8 (S.E. 1·01) kg, respectively). The carcass weight of the male lambs 3 weeks post-weaning was significantly higher (P < 0·001) in Blue-Faced Leicester and Texel compared with Blackface-sired lambs (12·5, 12·0 and 10·2 (S.E. 0·20) kg, respectively). Carcass conformation classification was higher in Texel compared with Blue-Faced Leicester and Blackface-sired lambs (P < 0·001). Fat classification was higher in Texel (P < 0·01) and Blue-Faced Leicester (P < 0·05) compared with Blackface-sired lambs. With Cheviot ewes, a greater number of ewes lambed unaided (P < 0·05) with Cheviot and Texel compared with Suffolk-sired lambs. The number of lambs born dead was higher (P < 0·01) with Suffolk compared with Cheviot and Texel-sired lambs (0·14, 0·08 and 0·07 (S.E. 0·016) lambs born dead/ewe lambed, respectively). Growth rates were higher in Suffolk compared with Cheviot-sired lambs (P < 0·05). Overall, Suffolk (P = 0·06) and Texel (P < 0·001) sires produced a greater weight of lamb at weaning compared with Cheviot sires (40·0, 41·5 and 36·9 (S.E. 1·01) kg, respectively). Carcass weight of lambs 3 weeks post-weaning was higher for Suffolk (P < 0·05) and Texel (P < 0·01) compared with Cheviot-sired male lambs. Carcass conformation classification was higher in Texel and Suffolk compared with Cheviot-sired (P < 0·001) lambs. Fat classification was also higher in Texel compared with Cheviot-sired lambs (P < 0·05). Carcass chemical composition was not significantly affected by lamb genotype.

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8

Bar-Yosef, Eitan. "Zionism, Apartheid, Blackface." Representations 123, no. 1 (2013): 117–53. http://dx.doi.org/10.1525/rep.2013.123.1.117.

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Numerous theatrical productions in 1950s Israel employed blackface to simulate negritude on the stage. Focusing on Habima’s 1953 production of Lost in the Stars—the musical drama based on Alan Paton’s best-selling novel Cry, the Beloved Country—and reading it in the context of Israel’s involvement in postcolonial black Africa, this essay demonstrates how, by reflecting the slippery nature of Jewish whiteness, blackface performances on the Hebrew stage captured the complex relationship between Zionism and apartheid.

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9

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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10

Dwyer, CM, AB Lawrence, HE Brown, and G. Simm. "Effect of ewe and lamb genotype on gestation length, lambing ease and neonatal behaviour of lambs." Reproduction, Fertility and Development 8, no. 8 (1996): 1123. http://dx.doi.org/10.1071/rd9961123.

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To distinguish between ewe and lamb breed effects on prenatal growth, ease of parturition and early lamb behaviour, an embryo-transfer study was carried out using a hill breed (Scottish Blackface; liveweight: 54.25 +/- 1.03 kg, mean +/- s.e.m.) and a lowland breed (Suffolk; 80.33 +/- 1.52 kg) to obtain the four possible combinations of ewe and lamb. Data were collected from 38 Blackface ewes (18 with Blackface lambs and 20 with Suffolk lambs) and 41 Suffolk ewes (20 with Blackface lambs and 21 with Suffolk lambs); all ewes were given single embryos. Suffolk lambs had a significantly longer gestation than Blackface lambs (1.5 days, P < 0.01), regardless of ewe breed. Suffolk lambs also had a longer labour (20 min, P < 0.05) and were significantly more likely to require birth assistance (17/21, 81% of all assisted deliveries; P < 0.001), as were male lambs (19/21, 90%; P < 0.01). These variables were independent of ewe breed. Blackface lambs were significantly more active than Suffolk lambs in the first 2 h after birth; ewe breed had little effect on lamb behaviour. Blackface lambs stood twice as quickly as Suffolk lambs after birth (13 min v. 24 min; P < 0.001), and were significantly more likely to suckle within the first 2 h after birth (92% v. 66%; P < 0.05). The behavioural retardation of Suffolk lambs may be a consequence of their birth difficulty which increases their likelihood of suffering birth trauma and hypoxia at parturition. Together, these factors may increase the probability of neonatal death in these lambs.

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11

Breon, Robin. "Blackface: Thoughts on Racial Masquerade." Canadian Theatre Review 98 (March 1999): 60–62. http://dx.doi.org/10.3138/ctr.98.010.

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The image of the entertainer in blackface is one that is central to the iconography of North American popular culture. From the early days of nineteenth-century minstrel shows, through vaudeville and burlesque to countless films featuring Al Jolson, Eddie Cantor, Bing Crosby and numerous others, the imitations and parodies of blackface are a permanent fixture on our cultural landscape. Stage presentation was, of course, the origin of blackface, and curiously, it is the stage to which it has recently returned – or not returned as the case may be. Over the past few years, the creators of several productions playing in Toronto have had to choose whether “to do” or “not to do” blackface. Their answers have been as different as black and white.

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12

Roark, Kate. "Jump Jim Crow: Lost Plays, Lyrics and Street Prose of the First Atlantic Popular Culture. Edited by W. T. Lhamon. Cambridge, MA: Harvard University Press, 2003; pp. 459. $39.95 cloth." Theatre Survey 46, no. 2 (2005): 333–35. http://dx.doi.org/10.1017/s0040557405320205.

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As the first published collection of early blackface-performance texts, W. T. Lhamon's Jump Jim Crow: Lost Plays, Lyrics, and Street Prose of the First Atlantic Popular Culture provides scholars of American popular entertainment with a much-needed sourcebook. These texts are collected in service of the book's larger purpose of evaluating the career of Thomas Dartmouth “Daddy” Rice, the first superstar of blackface performance, who became synonymous with his most popular character, Jim Crow. All the songs and plays gathered in Jump Jim Crow were performed by Rice (with the exception of the “street prose” section, which includes two contemporary, pamphlet biographies of Rice). The texts work with Lhamon's introduction to tell the story of Rice's career, which is a case study of the larger topic: the history of blackface performance before the rise of the minstrel show in the mid-1840s. As the plays collected here reveal, Rice's performance of blackface was fundamentally different from minstrel-show performance on many levels. The most important difference, Lhamon argues in his introduction, is that Rice's performances encouraged the white audience to identify with his blackface character, to laugh with him rather than at him.

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13

Howard, Philip SS. "A laugh for the national project: Contemporary Canadian blackface humour and its constitution through Canadian anti-blackness." Ethnicities 18, no. 6 (2018): 843–68. http://dx.doi.org/10.1177/1468796818785936.

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This article investigates the ways that the ostensible humour associated with contemporary blackface incidents in Canada is constituted. It argues that the conditions of possibility for contemporary Canadian blackface humour are an anti-black libidinal economy dependent upon the tropes of biological racism, and a socially embedded, psychic association of the Black body with pleasure that was entrenched through slavery’s relations of domination. With the specificities of anti-blackness in view, this article refines Simon Weaver’s concept, embodied racism, to emphasize that it is a form of biological racism that has historically targeted Black people, and continues to do so today. Then, building upon these foundations, I argue that contemporary Canadian blackface humour is constituted and intensified by the specific racialized social relations in Canada, such as its postracialist claim to being racially egalitarian, and the ways it mobilizes multiculturalist discourse to make Blackness perpetually foreign and out-of-place in Canada—matters that, in part, characterize the contemporary Canadian colonial project. The article therefore suggests that making clear these ways in which contemporary Canadian blackface is only legible as humour through racialized social relations is a necessary component of challenging suggestions that blackface is harmless, non-racial humour.

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14

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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15

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" tropes against Black people.

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16

Baker, Catherine. "Your Race Sounds Familiar?" Race and European TV Histories 10, no. 20 (2021): 83. http://dx.doi.org/10.18146/view.267.

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Your Face Sounds Familiar, a celebrity talent television format developed by the Dutch production company Endemol and first broadcast in Spain in 2011, has entertained audiences in more than forty countries with the sight of well-known professional musicians impersonating foreign and domestic stars through cross-gender drag and, on many national editions, cross-racial drag, with results that would widely be regarded as offensive blackface where this has already been extensively challenged as racist in public. In central/south-east Europe, however, blackface is sometimes justified by arguing that it cannot be a racist practice because these countries have not had the UK and USA’s history of colonialism and racial oppression. Through a study of the Croatian edition Tvoje lice zvuči poznato (2014–), where until 2020 blackface had rarely been publicly challenged, this paper explores how far a critical race studies lens towards blackface can also be applied there.

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17

Cardão, Marcos. "O blackface em Portugal. Breve história do humor racista." Vista, no. 6 (June 30, 2020): 121–42. http://dx.doi.org/10.21814/vista.3063.

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A sobrevalorização da capacidade transgressora do humor tende a colocá-lo fora da crítica, mesmo quando exercício humorístico gera estereótipos racistas. O sistema hierárquico e dis- criminatório das sociedades coloniais e a construção da especificidade identitária do negro foi sendo reforçada por formas racializadas de entretenimento, entre as quais, formas de humor que recorriam ao blackface. Conhecido pelo seu racismo primário, o subgénero blackface retratava a população negra como falha em inteligência, preguiçosa, supersticiosa. Embora seja um subgénero humorístico de origem norte-americana, a prática do blackface internacionalizou-se e chegou também a Portugal. Neste artigo, pretende-se o fazer uma breve história do humor racista em Portugal, começando por identificar os primeiros humoristas que recorreram ao blackface no contexto histórico do colonialismo português, sem deixar de referir exemplos recentes, que revelam como este subgénero humorístico, não só persiste, como porventura se intensificou e diversificou no contexto pós-colonial.

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18

Dwyer, C. M., and A. B. Lawrence. "EFFECTS OF MATERNAL GENOTYPE AND BEHAVIOUR ON THE BEHAVIOURAL DEVELOPMENT OF THEIR OFFSPRING IN SHEEP." Behaviour 137, no. 12 (2000): 1629–54. http://dx.doi.org/10.1163/156853900502754.

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AbstractSignificant breed differences in grazing, activity, social and other affiliative behaviours are known to exist in sheep. The roles of maternal and offspring genotype in determining the development of breed-specific behavioural differences in lambs were investigated using embryo-transfer. Two breeds of sheep (Suffolk and Scottish Blackface) were chosen as they differ markedly in social and affiliative behaviours. Sixty ewe-lamb pairs (15 each of the four combinations of ewe and lamb) were observed over the first 3 days after lambing, then when the lambs were aged between 2-5 months old and during the first 6 weeks after weaning. Lamb breed was the main factor affecting lamb activity at birth and play behaviour over the first postnatal days, with Blackface lambs being significantly more active than Suffolk lambs. Lamb sucking behaviour during this period, however, was significantly affected by ewe breed with a higher frequency of sucking interactions observed with Suffolk ewes. When out at grass the two breeds of ewe differed in their use of the field, with Blackface ewes using upland areas whilst Suffolk ewes were found almost exclusively in the lowland parts. Ewes also differed in their spatial relationship to their lamb, with Blackface ewes maintaining a closer relationship to their lamb than Suffolk ewes, regardless of lamb breed. Blackface ewes were also more active than Suffolk ewes and were more frequently observed grazing. The breed of their mother significantly influenced the behaviour of the lambs, and their spatial relationships to other sheep, both before and after weaning. Lambs with Blackface mothers were more active than lambs with Suffolk mothers and this difference persisted after weaning. Blackface-reared lambs also had a shorter nearest neighbour distance after weaning, aggregated into smaller subgroups and were significantly more likely to be in upland areas of the field, regardless of lamb breed, than lambs reared by Suffolk ewes. Maternal influence, therefore, plays an important role in shaping the behaviour of their offspring in sheep, although neonatal lamb activity is not affected by maternal behaviour.

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19

Richards, Jeffrey H. "Blackface Cuba, 1840–1895." Ecumenica 1, no. 1 (2008): 87–88. http://dx.doi.org/10.5325/ecumenica.1.1.0087.

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20

Réjouis, Rose. "Blackface et encre invisible." Esprit Janvir-Févrir, no. 1 (2020): 36. http://dx.doi.org/10.3917/espri.2001.0036.

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21

Shank, B. "Bliss, or Blackface Sentiment." boundary 2 30, no. 2 (2003): 47–64. http://dx.doi.org/10.1215/01903659-30-2-47.

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22

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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23

Lindahl, Carl. "A Note on Blackface." Journal of American Folklore 114, no. 452 (2001): 248–54. http://dx.doi.org/10.1353/jaf.2001.0007.

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24

Järvinen, Hanna. "Ballets Russes y blackface." Revista Brasileira de Estudos em Dança 1, no. 3 (2023): 418–58. http://dx.doi.org/10.58786/rbed.2023.v1.n3.58775.

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25

Graham-Jones, Jean. "Blackface Cuba, 1840–1895." Theatre Survey 47, no. 2 (2006): 343–45. http://dx.doi.org/10.1017/s0040557406350302.

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26

Järvinen, Hanna. "Ballets Russes and Blackface." Dance Research Journal 52, no. 3 (2020): 76–96. http://dx.doi.org/10.1017/s0149767720000352.

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Prompted by Achille Mbembe's reading of how racial assignation functions, this article examines the recurrences of two blackface ballet characters, the Golden Slave in Schéhérazade and the Blackamoor in Petrouchka, on twentieth and twenty-first-century dance stages, in exhibits, research, and pedagogy. The company that first performed these racist stereotypes, the Ballets Russes, has been canonized as crucial to the emergence of modernism in the performing arts more generally, although consistently Orientalized in the process. The designation of works revolving around racist stereotypes as “masterpieces,” and their constant reiteration, amounts to complicity with racism that is not limited to ballet stages.

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27

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 number of things to be said about this evaluation, the first being that its severe disparagement of one of the most popular cultural forms of the Victorian period in Britain was, during that period, exceptionally rare. Indeed, the lack of criticism attests to its enduring popularity. From their first wave of success in the late 1830s and early 1840s, minstrel acts, troupes and shows figured as a staple item of the popular stage throughout the remaining decades of the century. What began with its early boom in the second quarter of the century continued to prove attractive to successive generations across all social classes, and among men and women of the large urban centres, provincial towns and outlying rural areas alike.

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Lindahl, Carl. "A Note on Blackface." Journal of American Folklore 114, no. 452 (2001): 248. http://dx.doi.org/10.2307/542098.

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29

Chalaye, Sylvie. "Blackface, blues et facéties." Africultures 86, no. 4 (2011): 194. http://dx.doi.org/10.3917/afcul.086.0194.

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30

Dworkin, K. C., and Mendez. "Blackface Cuba, 1840-1895." Hispanic American Historical Review 87, no. 2 (2007): 391–92. http://dx.doi.org/10.1215/00182168-2006-146.

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31

Vaziri, Parisa. "Antiblack Joy." TDR: The Drama Review 66, no. 1 (2022): 62–79. http://dx.doi.org/10.1017/s1054204321000757.

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Maryam Khakipour’s 2004 The Joymakers and its 2008 sequel Shadi form an exemplary site for examining the dissemination and translation of Persian blackface across time, space, and media. The transmediality of sīyāh bāzī reveals a universal familiarity with the practice of blackface comedy that disrupts commonplace assumptions about its geographical and historical itinerary.

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32

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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Hennessey, Katherine. "Interpreting Othello in the Arabian Gulf: Shakespeare in a Time of Blackface Controversies." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (2020): 103–23. http://dx.doi.org/10.18778/2083-8530.22.07.

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This article opens with some brief observations on the phenomenon of Arab blackface—that is, of Arab actors “blacking up” to impersonate black Arab or African characters—from classic cinematic portrayals of the warrior-poet Antara Ibn Shaddad to more recent deployments of blackface in the Arab entertainment industry. It then explores the complex nexus of race, gender, citizenship and social status in the Arabian Gulf as context for a critical reflection on the author’s experience of reading and discussing Othello with students at the American University of Kuwait—discussions which took place in the fall of 2019, in the midst of a wave of controversies sparked by instances of Arab blackface on television and in social media.

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ABEL, ELIZABETH. "Shadows." Representations 84, no. 1 (2003): 166–99. http://dx.doi.org/10.1525/rep.2003.84.1.166.

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ABSTRACT This essay traces the relationship of Hollywood blackface to the figure of the shadow in the moving and still pictures of the 1930s. By reading Fred Astaire's Swing Time (1936) against Al Jolson's The Jazz Singer (1927), I argue that the shadow linked the breakthroughs in thirties cinematography with a distinctively Protestant variant of cinematic blackface.

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Hornback, Robert. "Blackfaced Fools, Black-Headed Birds, Fool Synonyms, and Shakespearean Allusions to Renaissance Blackface Folly." Notes and Queries 55, no. 2 (2008): 215–19. http://dx.doi.org/10.1093/notesj/gjn031.

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Annett, R. W., A. F. Carson, L. E. R. Dawson, D. Irwin, and D. J. Kilpatrick. "Lifetime performance of crossbred ewes in the hill sheep sector." Proceedings of the British Society of Animal Science 2009 (April 2009): 72. http://dx.doi.org/10.1017/s1752756200029112.

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Hill sheep flocks in the UK are dominated by purebred ewe genotypes, with the Scottish Blackface being the most common. However a long term decline in economic returns, combined with recent changes to the Common Agricultural Policy, has lead many hill sheep producers to consider keeping crossbred ewes to exploit the benefits of hybrid vigour for lamb survival and to introduce beneficial traits for prolificacy, ease of lambing and carcass quality. In 2001, a major on-farm research programme was initiated to evaluate the performance of a range of crossbred ewe genotypes for the Northern Ireland hill sheep sector. Provisional data has already identified that retaining Lleyn X Blackface and Texel X Blackface ewes can improve lamb output at weaning by up to 10% relative to purebred Blackface ewes (Speijerset al., 2007). However, ewe longevity is a major issue for hill flocks, where the annual replacement rate often exceeds 20%. Therefore it is inappropriate to evaluate crossbred ewe genotypes based on average annual performance alone, and the aims of this study were to investigate the lifetime performance of a range of crossbred genotypes under hill conditions.

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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 domestic life. I show how Jacobs-Jenkins uses this mashup of theatrical genres to cultivate a historical consciousness in and of theatre. By delineating the coercive bodily repertoires that perpetuate racist comedy, the play draws out the past in theatre’s present to theorize minstrel comedy’s failure to end. I argue that Neighbors insistently implicates its audience in the production of blackface entertainment, developing a critically resistant practice of comic historiography that disrupts complacent progressive histories of the minstrel show’s ostensible decline. The play’s historiographical interventions, I suggest, offer fresh insight into comedy’s form and function. By crafting a play with multiple endings, Jacobs-Jenkins reconfigures the classical definition of comedy as a genre that ends in the conservative restoration of the social order. In so doing, he turns blackface performance into a reflexive tool that deconstructs its own histories of reproduction. Neighbors thus harnesses the political fallout of comedy’s failure to end by carving out a new critical stance from which to examine the vexed histories of US comic entertainment.

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Bari, F., M. Khalid, W. Haresign, B. Merrell, A. Murray, and R. I. W. Richards. "An evaluation of the success of MOET in two breeds of hill sheep maintained under normal systems of hill flock management." Animal Science 69, no. 2 (1999): 367–76. http://dx.doi.org/10.1017/s1357729800050931.

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AbstractThis study was undertaken to investigate factors affecting the success of multiple ovulation and embryo transfer (MOET) in Scottish Blackface (no. = 120) and Welsh Mountain (no. = 120) ewes, over a period of 2 years using a laparoscopic procedure for both embryo recovery and transfer. Superovulation was induced with ovine FSH, with 98 to 100% of ewes of both the breeds responding to the treatment. The overall mean superovulatory responses were 15⋅0 (s.e. 0⋅8) and 12⋅5 (s.e. 0⋅7) for Scottish Blackface and 15⋅3 (s.e. 0⋅9) and 12·8 (s.e. 0⋅8) for Welsh Mountain ewes in years 1 and 2, respectively. However, there was a wide degree of variation in superovulatory responses within each breed, with a range of 3 to 29 in Scottish Blackface and 1 to 40 in Welsh Mountain ewes. The mean embryo recovery rate was 71⋅9 (s.e. 3⋅5) % and 69⋅6 (s.e. 3⋅4) % for Scottish Blackface and 57⋅5 (s.e. 4⋅1) % and 60⋅6 (s.e. 3⋅6) % for Welsh Mountain ewes in years 1 and 2, respectively. The mean number of embryos recovered from Welsh Mountain ewes was significantly (P < 0⋅05) lower than that from Scottish Blackface ewes in both years. The lower mean number of embryos recovered in year 2 for both breeds was entirely a reflexion of the lower superovulatory responses in year 2. A significant (P < 0⋅001) relationship was observed between superovulatory response and the number of embryos recovered for both breeds. Some 77% and 72% of Scottish Blackface ewes and 65% and 73% of Welsh Mountain ewes yielded four or more transferable embryos in years 1 and 2, respectively. Neither the mean number nor the mean percentage of transferable embryos per donor ewe differed between breeds or years. A significant (P < 0⋅001) negative relationship was observed between the time of onset of oestrus and both superovulatory response and number of embryos recovered in Scottish Blackface ewes only. Embryo quality was affected by the time of onset of oestrus. In both breeds, the highest proportion of grade 1+2 embryos and the lowest proportion of unfertilized/degenerate embryos occurred in the middle range time, with a reduction in the proportion of grade 1+2 embryos in ewes that came into oestrus either early <19 h) or late (>30 h) after sponge removal. Only one embryo was transferred to each recipient and the embryo survival rates were 76⋅8% and 74⋅6% (Scottish Blackface), and 69⋅6% and 87⋅3% (Welsh Mountain) for years 1 and 2, respectively. Overall the results of this study suggest that MOET is as successful in hill ewes as has been reported for lowland breeds, even without making any major concessions to their hill status.

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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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Ashworth, C. J., C. M. Dwyer, K. McIlvaney, M. Werkman, and J. A. Rooke. "Breed differences in fetal and placental development and feto-maternal amino acid status following nutrient restriction during early and mid pregnancy in Scottish Blackface and Suffolk sheep." Reproduction, Fertility and Development 23, no. 8 (2011): 1024. http://dx.doi.org/10.1071/rd10290.

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This study assessed the effect of feeding 0.75 energy requirements between Days 1 and 90 of pregnancy on placental development and feto-placental amino acid status on Day 125 of pregnancy in Scottish Blackface and Suffolk ewes carrying a single fetus. Such moderate nutrient restriction did not affect placental size, placentome number or the distribution of placentome types. Although fetal weight was unaffected by maternal nutrition, fetuses carried by nutrient restricted mothers had relatively lighter brains and gastrocnemius muscles. Suffolk fetuses were heavier and longer with a greater abdominal circumference, relatively lighter brains, hearts and kidneys, but heavier spleens, livers and gastrocnemius muscles than Blackface fetuses. Total placentome weight was greater in Suffolk than Blackface ewes. Ewe breed had a greater effect on amino acid concentrations than nutrition. Ratios of maternal to fetal amino acid concentrations were greater in Suffolk ewes than Blackface ewes, particularly for some essential amino acids. The heavier liver and muscles in Suffolk fetuses may suggest increased amino acid transport across the Suffolk placenta in the absence of breed differences in gross placental efficiency. These data provide evidence of differences in nutrient handling and partitioning between the maternal body and the fetus in the two breeds studied.

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Lane, Jill. "Blackface Nationalism, Cuba 1840-1868." Theatre Journal 50, no. 1 (1998): 21–38. http://dx.doi.org/10.1353/tj.1998.0015.

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Ybarra, Patricia. "Blackface Cuba, 1840-1895 (review)." Theatre Journal 58, no. 3 (2006): 517–18. http://dx.doi.org/10.1353/tj.2006.0182.

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Sterritt, David. "Blackface,Bamboozled, and Zoe Saldana." Quarterly Review of Film and Video 33, no. 6 (2016): 580–83. http://dx.doi.org/10.1080/10509208.2016.1185767.

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Moore, Robin. "Blackface Cuba, 1840-1895 (review)." Latin American Music Review 27, no. 1 (2006): 108–12. http://dx.doi.org/10.1353/lat.2006.0026.

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45

Kingstone, Lisa. "Blackface, passing or coming home." Patterns of Prejudice 51, no. 5 (2017): 432–38. http://dx.doi.org/10.1080/0031322x.2017.1397410.

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46

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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King, Thomas L. "Performing Jim Crow: Blackface Performance and Emancipation (Interpretando a Jim Crow: Blackface y emancipación)." Revista de Humanidades, no. 23 (June 26, 2015): 75. http://dx.doi.org/10.5944/rdh.23.2014.14953.

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Lage, Mariana Luísa da Costa, Denis Alves Perdigão, Felipe Gouvêa Pena, and Matheus Arcelo Fernandes Silva. "Preconceito maquiado: o racismo no mundo fashionista e da beleza." Revista Pensamento Contemporâneo em Administração 10, no. 4 (2016): 47. http://dx.doi.org/10.12712/rpca.v10i4.818.

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Neste artigo, analisou-se discursos sobre o blackface no mundo fashionista e da beleza a partir da busca pela representatividade e pelo protagonismo negro, em contraponto a uma liberdade de expressão artística do profissional da área. Foi investigado um caso de blackface publicado pela empresa de cosméticos Avon em sua rede social. O corpus de análise constituiu-se por discursos presentes nos comentários registrados na referida publicação. Os dados foram categorizados e analisados com base na vertente da análise crítica do discurso teorizada por Dijk (2012). Evidenciou-se que as práticas racistas continuam disseminadas na sociedade e seu reconhecimento ainda é dificultado por sua naturalização. Também foi evidenciado que a percepção do blackface como arte ou prática racista não está diretamente relacionada à cor da pele de quem a analisa, mas à sua percepção cognitiva embasada na sua cultura, experiência de vida, capacidade crítica, conhecimento histórico, entre outros fatores.

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O'Connor, C. E., and A. B. Lawrence. "Relationship between lamb vigour and ewe behaviour at parturition." Animal Science 54, no. 3 (1992): 361–66. http://dx.doi.org/10.1017/s000335610002081x.

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AbstractMaternal behaviour and lamb vigour are both considered major variables affecting lamb survival, but there are few data to describe their relative importance. To investigate the relationship between lamb vigour and maternal behaviour this study compared the behaviour of pure Scottish Blackface lambs with Mule (Bluefaced Leicester ♀. × Scottish Blackface ♂) lambs, all born indoors. Anecdotal accounts suggested a significant reduction in lamb vigour in Mule lambs, a matter also of significant practical importance given the current incease in Mule numbers. Observations on the grooming behaviour of 32 single or twin-bearing ewes, and on the general activity and udder-seeking behaviour of their lambs were made at parturition. In this study, neither ewe grooming behaviour nor general lamb activity were directly related to lamb sucking success. It was shown that, although Mule lambs had high birth weights and stood as quickly as Blackface lambs, they showed significantly fewer sucking attempts (P < 0·01) and took longer to suck successfully (28 min for Blackface v. 55 min for Mules). The inability of Mule lambs to suck successfully was due to their failure to show proper udder-directed behaviour. These results indicate the importance of considering the behaviour of both ewes and lambs as it would seem that it is not ‘poor’ maternal behaviour but inappropriate lamb behaviour that is a limiting factor in lamb survival in the Mule breed.

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Macfarlane, J. M., R. M. Lewis, and G. C. Emmans. "Growth and carcass composition of lambs of two breeds and their cross grazing ryegrass and clover swards." Animal Science 79, no. 3 (2004): 387–96. http://dx.doi.org/10.1017/s1357729800090251.

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AbstractThe effects of sward, breed type and sex on lamb growth and carcass composition were measured at two degrees of maturity in live weight. The three breed types were Scottish Blackface (no. = 60), Suffolk (no. = 59) and their reciprocal crosses (no. = 60). The lambs grazed swards of either ryegrass, clover or a mixed sward intended to contain both. The proportion of the mixed sward as clover was only 0.014. Each lamb was scanned using X-ray computed tomography to measure the weights of fat, lean and bone in the carcass at two proportions of mature body weight (0.30 and 0.45). Live weights were recorded weekly. Average daily gains (ADG) in live weight and carcass tissues were calculated for each lamb between the 0.30 and 0.45 stages of maturity.At the 0-30 stage of maturity, breed type differences in carcass composition were small; the Scottish Blackface had 0.942 as much bone as the Suffolk lambs (P < 0.001), with the cross lambs intermediate. At the 0-45 stage of maturity, Scottish Blackface lambs had less fat (0.749 times as much; P < 0.001), more lean (1.065 times as much; P < 0.001) and more bone (1.055 times as much; P < 0-001) than did Suffolk lambs. The values for crossbred lambs were intermediate but closer to those of the Suffolk. Neither sward nor its interaction with breed type had any significant effect on carcass composition at either the 0-30 or 0-45 stage of maturity. The effect of sex on carcass composition was significant at the 0-45 stage of maturity when castrated male lambs had less fat (P < 0.001) and more lean (P < 0.001) than female lambs. There were breed type by sward interactions for ADG in live weight (P < 0.05), in carcass weight (P < 0.001), and in fat (P < 0.001) and bone weights (P < 0.05). The interactions were such that Suffolk lambs had higher growth rates than Scottish Blackface lambs on clover but not on ryegrass or the mixed sward. There were no significant differences between Suffolk and crossbred lambs in growth rates on any sward. In this, and in two other experiments, the extent to which growth rate declined as the nutritional environment became worse was greater (P < 0.05) in Suffolk than in Scottish Blackface lambs; that is, Suffolk lambs expressed greater environmental sensitivity than the Scottish Blackface.

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