Starting within the 1830s and carrying on with for greater than a century, blackface minstrelsy―stage performances that claimed to symbolize the tradition of black Americans―remained arguably the most well-liked leisure in North the US. A renewed scholarly curiosity during this contentious type of leisure has produced reports treating various matters: its contradictory depictions of sophistication, race, and gender; its function within the improvement of racial stereotyping; and its legacy in humor, dance, and tune, and in concert, movie, and tv. the fashion and substance of minstrelsy persist in renowned tune, faucet and hip-hop dance, the language of the standup comedian, and daily rituals of up to date tradition. The blackface make-up all yet disappeared for a time, although its effect by no means diminished―and lately, even the make-up has been coming round again.
This selection of unique essays brings jointly a gaggle of in demand students of blackface functionality to mirror in this complicated and tricky culture. Essays ponder the early courting of the blackface performer with American politics and the antislavery stream; the connection of minstrels to the average compromises of the traveling "show" enterprise and to the mechanization of the economic revolution; the exploration and exploitation of blackface within the mass media, through D. W. Griffith and Spike Lee, in early sound animation, and in fact tv; and the new reappropriation of the shape at domestic and abroad.
In addition to the editor, participants contain Dale Cockrell, Catherine Cole, Louis Chude-Sokei, W. T. Lhamon, Alice Maurice, Nicholas Sammond, and Linda Williams.
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