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Relevant bibliographies by topics / Minstrel shows

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Academic literature on the topic 'Minstrel shows'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Minstrel shows"

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

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In 1855, the first ‘coloured’ minstrel troupe, the Mocking Bird Minstrels, appeared on a Philadelphia stage. While this company did not stay together long, it heralded a change in the ‘face’ of minstrelsy in the United States. Many other black minstrel troupes would quickly follow, drawing attention away from the white minstrels who had until then dominated the scene. However, the white minstrel show had already iconized a particular representation of the ‘Negro’, which ultimately paved the way for black anti-minstrel attitudes at the end of the nineteenth century. The minstrel show existed in two guises: the white-in-blackface, and the black-in-blackface. The form and content of the minstrel shows changed over time, as well as audience perception of the two different types of performance. The black minstrel show has come to be regarded as a ‘reclaiming’ of slave dance and performance. It differs from white minstrelsy in that it gave theatrical form to ‘signifyin” on white minstrelsy in the manner in which slaves practised ‘signifyin” on whites in real life.

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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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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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HUSEYNOVA, Zulfiyye. "AZERBAYCAN AŞIK SANATINDA ŞİRVAN AŞIK ORTAMININ ROLÜ THE ROLE OF THE SHIRVAN ASHİK ART IN AZERBAIJAN ASHİK ART." IEDSR Association 6, no. 16 (November 15, 2021): 104–12. http://dx.doi.org/10.46872/pj.408.

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The art of minstrel, whose etymological meaning is "ash", "light", "love", is common in all Turkic peoples, including Azerbaijan, Göyçe, Borchali, Nakhchivan, Yerevan, Ağbaba, Çıldır, Derbent, Karabakh, Ganja, Tovuz, Gazakh, Shamkir, Shamahhi, It was developed in Ismayilli, Agsu, Goychay, Khizi, Guba, Tabriz, Urmia, Khorasan regions. Although the Shirvan minstrel environment has been included in the research of philologists, it has been little studied in musicology. From this point of view, the works of K. Akhundova (Dadaşzade), Ahliman Rahimov, Aliyeva Hanim devoted to examining the Shirvan ash circle are quite remarkable. Shirvan ashik environs have spread over a wide area, including Shamakhi, Ismayilli, Agsu, Goycay, Hızi, Ujar, Gobustan, Mugan region, Salyan, Sabirabad and Belasuvar regions. Shirvan minstrels always responded to cultural events with their art, and took an active role in minstrel congresses and other important state events that played an important role in the development of this art. Shirvan ashik’s have always come to the fore with their musical creations. In Shirvan's minstrel environment, air is played in the accompaniment of various instruments, unlike other regions. It included two balabans, a percussion instrument (double drum) and a ashik singer, including a ashik. In this respect, the group of Shirvan ashik’s can be called a community. One of the characteristic features of the representatives of the environment is that the mugham is performed at the beginning of the air, sometimes between the second and third lines, which shows the skill of the minstrel. Balaban performers also have other responsibilities within the group. It adds color to the general sound of the air accompanied by two bitterns. While one of the balaban players plays a musical theme, the other has a kind of "helper" structure and takes exemplary notes in accordance with the mood and melody of the air. The inclusion of the percussion instrument in the backing demonstrates the uniqueness of this setting not seen in other regions. Although they can be found in other environments such as Güzell?, sikeste, keremi, muhammes, gerayli, they are completely different from Shirvan airs in terms of melody. Peşrov and Shesangi melodies belong only to Shirvan ashik’s and are not performed in other settings. Shirvan ash tunes are also very rich in terms of musical style and contain developed moments, melodies and rhythms.

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Longazel, Jamie. "‘Blue Lives Matter’ and the legacy of blackface minstrelsy." Race & Class 63, no. 1 (July 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 folks ought to be. The article concludes by arguing that critical analyses of policing should consider policing performances rather than just policing practices.

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Bayne, Clarence S. "The Origins of Black Theatre in Montreal." Canadian Theatre Review 118 (June 2004): 34–40. http://dx.doi.org/10.3138/ctr.118.004.

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Montreal’s early experiences of Black theatre go back to the minstrel shows of the 1850s at the Odd Fellow’s Hall and the Garrick Club Theatre. These shows seldom involved Black artists. The companies consisted of white performers, who painted their faces black to adopt the facial traits of the Black performer. These minstrel shows presented caricatures of Blacks, in an extremely racist and demeaning light. In 1851, a Black group, called the Real Ethiopian Serenaders from Philadelphia, added to this buffoonery and the demeaning of Blacks, through its Shaker burlesque act. Garry Collison writes that parodies like the [Real] Ethiopian Serenaders’ “Shaker Burlesque” or the standard comic lecturer who spouted gibberish “played flagrantly to the white racist beliefs in the intellectual inferiority of blacks” (Collison 180). Far from educating its audiences as to the social value of Blacks and Black culture, the shows served to implant images of Blacks as childlike, of low intellectual capacity, and incapable of being assimilated into white society and civilization; as capable merely of a clownish, clumsy imitation of white culture (Collison 180). The minstrel shows continued to be a very popular form of theatrical entertainment throughout the later part of the nineteenth and the early twentieth centuries. Their racist social content received very little critical disapproval in the press of the time. In fact, historian Robin Winks considers this to be one of the principal instruments by which Canadians had, by the end of the nineteenth century, learned to be racist in their perception of and attitudes towards Blacks. It took approximately eighty years, after the 1851 appearance of the Ethiopian Serenaders at the Royal Theatre, before we began to see the emergence in Montreal of the social, political and economic conditions from which a theatre movement initiated by Blacks, for Black expression, development and pride could take root.

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Romero-Pérez, María Isabel. "Identity as a construct: reading blackness in Eugene O’neill’s the emperor jones." Revista de Estudios Norteamericanos, no. 25 (2021): 205–26. http://dx.doi.org/10.12795/ren.2021.i25.10.

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This paper aims to explore how racialized identities are typified as a modernist construct in Eugene O’Neill’s The Emperor Jones (1920). To this end, the notion of whiteness is identified as a mediated construct and contextualized in the proliferation of American minstrel shows. This popular entertainment projected to white audiences the racial means of differentiation from black caricatures and clichés at the time of segregation. The echoes of minstrel shows and modernists’ instrumentalization of 1920s primitivism serve to initially address the characterization of blackness in Brutus Jones’ identity. Assessed through this in-between construction of symbolic borderlands in which the protagonist is both colonizer and colonized, his blackness becomes a metaphorical mask of otherness while his whiteness shapes the colonial performance of material whiteness. Although he envisions the white ideal in his systematic practices in the Caribbean island, his fragmented identity and his hybridity subject him to a primeval racialized past, to primitivism and atavism.

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Jun, Joon-taek. "Reconsidering the History of Minstrel Shows: Before and after Uncle Tom’s Cabin." Journal of Modern English Drama 36, no. 3 (December 31, 2023): 117–44. http://dx.doi.org/10.29163/jmed.2023.12.36.3.117.

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Spitzer, John. "Oh! Susanna: Oral Transmission and Tune Transformation." Journal of the American Musicological Society 47, no. 1 (1994): 90–136. http://dx.doi.org/10.2307/3128837.

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Early prints of "Oh! Susanna" by Stephen Foster transmit versions of the tune that differ strikingly from one another. It is likely that these variants arose as "Susanna" was orally transmitted among minstrel-show performers. Variant readings are compared in order to establish a stemma that shows not only the filiation of sources, but also the ways in which oral and written aspects were mixed in the transmission of "Susanna." The variants in versions of "Susanna" demonstrate four general tendencies of oral transmission: (1) a tendency to alter rhythms in order to clarify the beat; (2) a tendency to pentatonicize the melody; (3) a tendency for a salient harmony to draw the melody to the chord root; and (4) a tendency to eliminate differences between parallel passages. Analysis reveals that the four tendencies are also present in the transmitted versions of other songs from the repertory of nineteenth-century American minstrelsy.

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D’Alessandro, Michael. "Peter P. Reed. Staging Haiti in Nineteenth-Century America: Revolution, Race and Popular Performance." Modern Drama 67, no. 1 (March 1, 2024): 119–22. http://dx.doi.org/10.3138/md-67-1-rev6.

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This book provides a vital study of the assorted theatrical exhibits that emanated from the Haitian Revolution; case studies include refugee dramas, commencement ceremony dialogues, minstrel shows, and abolitionist speeches. Demonstrating how Americans used the theatre to understand an often incomprehensible revolution, Staging Haiti will be invaluable to theatre scholars and historians alike.

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Dissertations / Theses on the topic "Minstrel shows"

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Richards, Jason. "Whites in blackface, blacks in whiteface : racial fluidities and national identities /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010855.

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Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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May, Heather. "Middle-class morality and blackwashed beauties Francis Leon and the rise of the prima donna in the post-war minstrel show /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264313.

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Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama, 2007.
Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1735. Adviser: Ronald H. Wainscott. "Title from dissertation home page (viewed Jan. 12, 2008)."

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Le, Camp Lorraine. "Racial considerations of minstrel shows and related images in Canada /." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=370859&T=F.

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Brown, Meredith Kate Lhamon W. T. "Spinning Pagans or Americans? dance and identity issues in Stowe, Twain, and James /." 2004. http://etd.lib.fsu.edu/theses/available/etd-04012004-131500.

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Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. W.T. Lhamon, Jr., Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

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Wernicke, Rose. "The Farmland Opera House : culture, identity, and the corn contest." Thesis, 2013. http://hdl.handle.net/1805/4663.

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Books on the topic "Minstrel shows"

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Mechanics' Institute of Saint John (N.B.), ed. Mechanics' Institute Hall, Monday evening, May 20: Fourth night of the mammoth troupe of the world ... fourth appearance in St. John of Rumsey & Newcomb's Minstrels .. [Saint John, N.B.?: s.n., 1987.

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

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Brown, Carlyle. The little Tommy Parker celebrated colored minstrel show. New York: Dramatists Play Service, 1992.

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Pickering, Michael. Blackface minstrelsy in Britain. Burlington, VT: Ashgate, 2007.

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Waterhouse, Richard. From minstrel show to vaudeville: The Australian popular stage, 1788-1914. Kensington, NSW, Australia: New South Wales University Press, 1990.

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

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

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

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McAllister, Marvin Edward. Whiting up: Whiteface minstrels & stage Europeans in African American performance. Chapel Hill: University of North Carolina Press, 2011.

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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Wednesday, Nov. 27 Guy Bros. Minstrels. [London, Ont.?: s.n., 1986.

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Book chapters on the topic "Minstrel shows"

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Glover, Eric M. "Early successful shows on Broadway by Black creators and the movement away from minstrel stereotypes." In Milestones in Musical Theatre, 11–28. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003256458-2.

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MacDonald, Joyce Green. "Minstrel Show Macbeth." In Weyward Macbeth, 55–63. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1007/978-0-230-10216-3_6.

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Guerrero, Lisa A. "“The New Millennium Minstrel Show”." In Crazy Funny, 55–71. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2020. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429467639-3.

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Paynter, Allison E. "Ernest Hogan’s Colored All-Stars Minstrel Show." In South Seas Encounters, 137–55. New York, NY: Routledge, 2018. | Series: The nineteenth century series: Routledge, 2018. http://dx.doi.org/10.4324/9780429467561-8.

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Springhall, John. "Blackface Minstrelsy: The First All-American Show." In The Genesis of Mass Culture, 57–80. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230612129_4.

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Graham, Sandra Jean. "The Minstrel Show Gets Religion." In Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0005.

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After the Civil War, blackface minstrels found in religion a steady stream of subject matter tailor-made for comedic treatment. This chapter examines three songs that nicely illustrate the postwar phenomenon of religious parody in its infancy and its evolution toward slave-themed entertainment: “Carry the News! We Are All Surrounded” (1870), “Rock’a My Soul” (1871), and “Contraband Children” (1872). Performed initially by whites in blackface, these songs replicate the musical style of black folk spirituals in their parody of a camp meeting. The story of “Carry the News” in particular shows how blackface entertainers were already drawing on musical styles and themes loosely related to those of spirituals, and how the public easily confused newly created popular songs with traditional folk songs. When the vogue of jubilee singing began to spread a few years later, minstrelsy was primed for a convergence and eventual merger with jubilee song. As black minstrel entertainers multiplied, white minstrels increasingly found that they had to cede their plantation-themed material to them.

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"16. A Pair of Minstrel Shows." In Stravinsky and the Russian Traditions, 1237–318. University of California Press, 1996. http://dx.doi.org/10.1525/9780520342736-004.

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Hudson, Berkley. "Minstrel Show, circa 1920s." In O. N. Pruitt's Possum Town, 147–50. University of North Carolina Press, 2022. http://dx.doi.org/10.5149/northcarolina/9781469662701.003.0015.

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White youngsters, adorned in blackface, pose as a troupe of cotton pickers. Cotton bolls spill from a handmade woven basket. The galvanized tub evokes those in which poor Blacks and whites scrubbed and washed clothes for their own families and those of their employers. The scene conjures the biting comment made by Black writer Zora Neale Hurston: “Everyone seems to think that the Negro is easily imitated when nothing is further from the truth. Without exception I wonder why the blackface comedians are blackface; it is a puzzle—good comedians, but darn poor n–––.” In the early twentieth century, minstrel shows performed at local movie theaters and set up tents for performances on the southside of Columbus, where the Confederate Army once had a weapons arsenal. Pruitt’s negatives reveal that throughout his career he photographed whites blackened for minstrel shows and community plays. Examples abound of minstrelsy’s lingering legacy into the late twentieth and early twenty-first centuries. Filmmaker Spike Lee documented this painfully in Bamboozled. With a searing persistence of cultural love and cultural theft, the Pruitt image depicts the entertainment practice that scholar Susan Gubar calls “blackface lynching.”

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"Contents." In Anthems and Minstrel Shows, vii. McGill-Queen's University Press, 2015. http://dx.doi.org/10.1515/9780773584150-toc.

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"Epilogue." In Anthems and Minstrel Shows, 311–22. McGill-Queen's University Press, 2015. http://dx.doi.org/10.1515/9780773584150-011.

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