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Investigates what blackface is, why it occurred, and what its legacies are in the 21st century.
Blackface entertainers --- Blackface --- Racism --- History --- History.
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Blackface entertainers --- Blackface entertainers. --- Minstrel shows --- Minstrel shows. --- History --- Great Britain.
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Minstrel shows --- Blackface entertainers --- Minstrel music. --- United States
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Blackface entertainers --- Country music --- Sex role in music --- Women country musicians --- History and criticism
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Theater --- Blackface entertainers --- Mumming --- Racism and the arts --- Parades --- History. --- Philadelphia Mummers (Organization)
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Sociology of minorities --- Music --- United States --- Blackface entertainers --- Minstrel music. --- Minstrel shows --- History. --- Minstrel music --- History --- Biography --- Race relations --- United States of America --- MINSTREL SHOWS --- MINSTREL MUSIC --- BLACKFACE ENTERTAINERS --- RACE RELATIONS --- U.S.
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"Voici un livre qui donnera le vertige à ceux qui sont habitués aux standards de l'histoire culturelle", écrit Jacques Rancière dans la préface de "Peaux blanches, masques noirs". 1820, New York, marché Sainte-Catherine : près du port, des " nègres " dansent pour gagner quelques anguilles. À l'origine monnaie d'échange, ces danses deviennent une marque culturelle pour le lumpenprolétariat bigarré fasciné par le charisme et la gestuelle des Noirs. Fin du XXe siècle, de part et d'autre de l'Atlantique et sur MTV: Michael Jackson et M.C. Hammer se déhanchent avec des pas de danse et des gestes identiques aux danseurs d'anguilles. Pourquoi ces gestes ont-ils perduré ? Quels processus d'identification ont-ils mis en uvre? A qui appartiennent-ils ? Aux Noirs qui les ont créés, ou aux Blancs qui, une fois grimés en noir (le blackface), les ont copiés et assimilés ? Peaux blanches, masques noirs, à travers l'histoire des ménestrels du blackface et des lieux fondateurs de la culture américaine, explore cette longue mutation d'un lore limité aux frontières d'un marché multi-ethnique en une véritable culture populaire atlantique où l'échange et la reconnaissance de gestes signent une appartenance - le lore étant, au contraire du folklore, non pas la propriété d'un peuple, mais une matrice de savoir, de récits et de pratiques qui est tout entière affaire de circulation. Esclaves ou nouveaux affranchis noirs, mariniers ou commerçants blancs, tous vivaient dans les mêmes conditions d'une classe ouvrière luttant pour que la culture dominante les laisse libres d'échanger les marques de reconnaissance culturelles qu'ils partageaient. Du sifflement de Bobolink Bob sur le marché Sainte-Catherine à celui d'Al Jolson dans Le Chanteur de jazz, du Benito Cereno de Melville au Minstrel Boy de Bob Dylan, des peaux d'anguilles portées en guise de serre-tête aux dreadlocks afros, William Lhamon offre ici une fascinante anthropologie de ces signes culturels qui, après avoir vaincu les forces d'oppression qui tentaient de les étouffer, font aujourd'hui partie de notre quotidien.
Minstrel shows --- Blackface entertainers --- Minstrel music. --- History. --- United States --- Race relations. --- Break dancing --- Hip-hop --- Danse noire américaine --- Histoire. --- Minstrel shows - United States - History. --- Blackface entertainers - United States - Biography. --- United States - Race relations. --- Blackface --- African American entertainers. --- African American musicians.
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Minstrel Traditions: Mediated Blackface in the Jazz Age explores the place and influence of black racial impersonation in US society during a crucial and transitional time period. Minstrelsy was absorbed into mass-culture media that was either invented or reached widespread national prominence during this era: advertising campaigns, audio recordings, radio broadcasts, and film. Minstrel Traditions examines the methods through which minstrelsy's elements connected with the public and how these conventions reified the racism of the time.This book explores blackface and minstrelsy through a series of overlapping case studies which illustrate the extent to which blackface thrived in the early twentieth century. It contextualizes and analyzes the last musical of black entertainer Bert Williams, the surprising live career of pancake icon Aunt Jemima, a flourishing amateur minstrel industry, blackface acts of African American vaudeville, and the black Broadway shows which brought new musical styles and dances to the American consciousness. All reflect, and sometimes incorporate, the mass-culture technologies of the time, either in their subject matter or method of distribution. Retrograde blackface seamlessly transitioned from live to mediated iterations of these cultural products, further pushing black stereotypes into the national consciousness.The book project oscillates between two different types of performances: the live and the mediated. By focusing on how minstrelsy in the Jazz Age moved from live performance into mediatized technologies, the book adds to the intellectual and historical conversation regarding this pernicious, racist entertainment form. Jazz Age blackface helped normalize new media technologies and that technology extended minstrelsy's influence within US culture. Minstrel Traditions tracks minstrelsy's social impact over the course of two decades to examine how ideas of national identity employ racial nostalgias and fantasias. This book will be of great interest to scholars and researchers in theatre studies, communication studies, race and media, and musical scholarship.
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Sociology of minorities --- Art --- Sociology of culture --- United States --- African Americans in popular culture. --- Arts, American --- Blackface entertainers --- History --- United States of America
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A revealing exploration of Northern proslavery sentiment during the period before the Civil War.
African Americans in the performing arts --- Northeastern states --- Race discrimination --- Whites --- Blackface entertainers --- Racism in popular culture --- Slavery --- History --- Race relations --- White people
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