Recent revelations in Virginia involving the governor and attorney general, both of whom have admitted to using blackface in the 1980s, has brought attention to the long history of blackface minstrelsy
in the U.S.
When the company of dancers are white, and the others' skin is black, contemporary reflection cannot ignore the echoes of blackface minstrelsy
in Dean's full-body mask.
a 'performance of nationalism' appealing not only to the historical past but to biological continuity, past unity, and the power of nostalgia for an essentialist vision of itself." (66) While these productions did not originally draw upon the tradition of American blackface minstrelsy
, in different historical and geographical contexts, these productions could acquire new meanings and referents.
Kaplan's conclusion, "Love and Consequences" (a play on the title of Eric Lott's influential study of white blackface performers, Love and Theft: Blackface Minstrelsy
and the Working Class ), addresses a question informed readers of this study can't fail to raise: "When does empathy become appropriation?" When it comes to issues of appropriation and overidentification, Miss Anne often stepped way over the line, refusing to follow codified scripts of race, gender, and class behavior.
"'Blackin' Up Is Us Doin'White Folks Doin' Us': Blackface Minstrelsy
and Racial Performance in Contemporary American Fiction and Film".
The creolization of American culture; William Sidney Mount and the roots of blackface minstrelsy
"It's constantly a form of entertainment that backs itself into all kinds of trouble, whether political trouble around slavery or a kind of mental trouble having to do with fantasizing about black people,'' said Lott, who wrote the 1993 book "Love & Theft: Blackface Minstrelsy
& the American Working Class.''
The book's second half situates Armstrong's autobiography within broader cultural contexts, particularly in relation to race, identity, and the lingering discourses of blackface minstrelsy
in American popular culture.
While still working in the area of African American fiction, Chapter 3, "Jim Too: Black Blackface Minstrelsy
in Wesley Brown's Darktomn Strutters and Spike Lee's Bantboozled," shifts its focus to film.
Tracking the performance and reception histories of a variety of widely popular and highly influential theatrical events--including Edwin Forrest's career-defining performance as the title character in Metamora; the long-standing influence of James Kirke Paulding's The Lion of the West; the connection between blackface minstrelsy
and cliches about the frontier; and frontier-themed works by Dion Boucicault, Joaquin Miller, and Augustin Daly--Rebhorn's Pioneer Performance offers a much-needed analysis of how the twin paths of frontier and theatrical history intersected over the course of the nineteenth century.
"Burnt Cork: Traditions and Legacies of Blackface Minstrelsy
" explores this now taboo act of blackface in its roots in early nineteenth century America, where these minstrel shows were born and served as a launching pad for acts that discussed not only race, but class, culture, gender, and other topics of the day.
was a "travesty in which the Negro was only a
WAS THE first distinctly American theatrical form, taking shape around 1840.
(2) See The Juba Project: Early Blackface Minstrelsy
in Britain 1842-1852 online database for extensive documentation of performers and performances throughout the British Isles.
race for nearly five decades, the link here to blackface minstrelsy