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Drawing extensively on black newspapers and commentary of the period, Karen Sotiropoulos shows how black performers and composers participated in a politically charged debate about the role of the expressive arts in the struggle for equality. Despite the racial violence, disenfranchisement, and the segregation of virtually all public space, they used America's new businesses of popular entertainment as vehicles for their own creativity and as spheres for political engagement.
Performing Arts. --- African Americans in the performing arts --- Performing arts --- Race discrimination --- Drama --- Music, Dance, Drama & Film --- Show business --- Arts --- Performance art --- History. --- Political aspects --- United States --- Race relations. --- Race question --- Racism against Black people --- Blackface --- Impersonation --- Anti-Black racism --- Antiblack racism --- Racism against Blacks --- Black people --- African Americans in the performing arts.
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For over two centuries, America has celebrated the same African-American culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show appropriated black dialect, music, and dance; at once applauded and lampooned black culture; and, ironically, contributed to a ""blackening of America."" Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of t
Minstrel shows --- Working class --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- African Americans in the performing arts --- Revues --- Vaudeville --- Blackface entertainers --- History. --- United States --- Southern States --- Confederate States of America --- Race relations. --- History --- Race question --- Lost Cause mythology --- Racism against Black people --- Blackface --- Impersonation --- Anti-Black racism --- Antiblack racism --- Racism against Blacks --- Black people --- American minstrelsy --- Minstrelsy --- Minstrelsy, American --- Racism against Black people. --- Blackface.
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This work examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807-1868) as a lens through which to see the multi-ethnic antebellum world that gave birth to blackface minstrelsy.
Blackface entertainers --- Minstrel shows --- Minstrel music --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- African Americans in the performing arts --- Revues --- Vaudeville --- American minstrelsy --- Blackface minstrelsy --- Ethiopian operas (Minstrel music) --- Ethiopian songs (Minstrel music) --- Minstrel songs --- Minstrelsy, American --- Minstrelsy, Blackface --- Operas, Ethiopian (Minstrel music) --- Songs, Ethiopian (Minstrel music) --- Popular music --- Black-face entertainers --- Entertainers, Blackface --- Minstrels (Blackface entertainers) --- Entertainers --- History. --- History and criticism. --- Mount, William Sidney, --- Blackface --- Racism against Black people --- Anti-Black racism --- Antiblack racism --- Racism against Blacks --- Black people --- Impersonation --- Blackfaced entertainers --- Blackface minstrel shows --- Minstrelsy --- American minstrel music --- Minstrel show songs --- Blackface. --- Racism against Black people.
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"In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved. As Thompson shows, however, blacks' "backstage" use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion. Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots"--
HISTORY / United States / 19th Century. --- PERFORMING ARTS / Dance / General. --- SOCIAL SCIENCE / Ethnic Studies / African American Studies. --- Racism in popular culture --- Plantation life --- Slavery --- African American dance --- Theater and society --- Race in the theater --- Slaves --- Popular culture --- Country life --- Abolition of slavery --- Antislavery --- Enslavement --- Mui tsai --- Ownership of slaves --- Servitude --- Slave keeping --- Slave system --- Slaveholding --- Thralldom --- Crimes against humanity --- Serfdom --- Slaveholders --- Afro-American dance --- Dance, African American --- Dance --- Actors --- Society and theater --- Theater --- Enslaved persons --- Persons --- History. --- Justification. --- Social life and customs. --- Social status --- Social aspects --- History --- Justification --- Social life and customs --- Racism against Black people --- Blackface --- Impersonation --- Anti-Black racism --- Antiblack racism --- Racism against Blacks --- Black people --- Racism against Black people. --- Blackface.
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Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late 19th-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In this work on postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons.
African Americans --- Jubilee singers. --- Minstrel shows --- Spirituals (Songs) --- Musicians --- Afro-Americans --- Black Americans --- Colored people (United States) --- Negroes --- Africans --- Ethnology --- Blacks --- African American spirituals --- Afro-American spirituals --- Negro spirituals --- Folk songs, English --- Hymns, English --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- African Americans in the performing arts --- Revues --- Vaudeville --- Blackface entertainers --- Music --- History anc criticism. --- History --- History and criticism. --- Blackface --- Racism against Black people --- Anti-Black racism --- Antiblack racism --- Racism against Blacks --- Black people --- Impersonation --- American minstrelsy --- Minstrelsy --- Minstrelsy, American --- Blackface. --- Racism against Black people.
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"The story of Christine Jorgensen, America's first prominent transsexual, famously narrated trans embodiment in the postwar era. Her celebrity, however, has obscured other mid-century trans narratives--ones lived by African Americans such as Lucy Hicks Anderson and James McHarris. Their erasure from trans history masks the profound ways race has figured prominently in the construction and representation of transgender subjects. In Black on Both Sides, C. Riley Snorton identifies multiple intersections between blackness and transness from the mid-nineteenth century to present-day anti-black and anti-trans legislation and violence. Drawing on a deep and varied archive of materials--early sexological texts, fugitive slave narratives, Afro-modernist literature, sensationalist journalism, Hollywood films--Snorton attends to how slavery and the production of racialized gender provided the foundations for an understanding of gender as mutable. In tracing the twinned genealogies of blackness and transness, Snorton follows multiple trajectories, from the medical experiments conducted on enslaved black women by J. Marion Sims, the "father of American gynecology," to the negation of blackness that makes transnormativity possible. Revealing instances of personal sovereignty among blacks living in the antebellum North that were mapped in terms of "cross dressing" and canonical black literary works that express black men's access to the "female within," Black on Both Sides concludes with a reading of the fate of Phillip DeVine, who was murdered alongside Brandon Teena in 1993, a fact omitted from the film Boys Don't Cry out of narrative convenience. Reconstructing these theoretical and historical trajectories furthers our imaginative capacities to conceive more livable black and trans worlds." --
Transgender people --- African American transgender people --- Racism against Black people --- African Americans --- Gender identity --- Transgender Persons --- Racism --- Gender Identity --- Sexual and Gender Minorities --- Bisexuals --- GLBT Persons --- GLBTQ Persons --- Gender Minorities --- Homosexuals --- LBG Persons --- LGBT Persons --- LGBTQ Persons --- Lesbians --- Lesbigay Persons --- Men Who Have Sex With Men --- Non-Heterosexual Persons --- Non-Heterosexuals --- Queers --- Sexual Dissidents --- Sexual Minorities --- Women Who Have Sex With Women --- Gays --- Bisexual --- Dissident, Sexual --- Dissidents, Sexual --- GLBT Person --- GLBTQ Person --- Gay --- Gender Minority --- Homosexual --- LBG Person --- LGBT Person --- LGBTQ Person --- Lesbian --- Lesbigay Person --- Minorities, Gender --- Minorities, Sexual --- Minority, Gender --- Minority, Sexual --- Non Heterosexual Persons --- Non Heterosexuals --- Non-Heterosexual --- Non-Heterosexual Person --- Person, GLBT --- Person, GLBTQ --- Person, LBG --- Person, LGBT --- Person, LGBTQ --- Person, Lesbigay --- Person, Non-Heterosexual --- Persons, GLBT --- Persons, GLBTQ --- Persons, LBG --- Persons, LGBT --- Persons, LGBTQ --- Persons, Lesbigay --- Queer --- Sexual Dissident --- Sexual Minority --- Bisexuality --- Homosexuality --- Homosexuality, Male --- Homosexuality, Female --- Gender --- Gender Identities --- Identity, Gender --- Covert Racism --- Racial Bias --- Racial Discrimination --- Racial Prejudice --- Everyday Racism --- Bias, Racial --- Discrimination, Racial --- Discriminations, Racial --- Prejudice, Racial --- Prejudices, Racial --- Racial Discriminations --- Racial Prejudices --- Racism, Covert --- Racism, Everyday --- Apartheid --- African-Americans --- African American --- African-American --- Afro-American --- Afro-Americans --- Black Americans --- Afro American --- Afro Americans --- American, African --- American, Black --- Americans, Black --- Black American --- Transexuals --- Transgenders --- Transsexual Persons --- Two-Spirit Persons --- Transgendered Persons --- Person, Transgender --- Person, Transgendered --- Person, Transsexual --- Person, Two-Spirit --- Persons, Transgender --- Persons, Transgendered --- Persons, Transsexual --- Persons, Two-Spirit --- Transexual --- Transgender --- Transgender Person --- Transgendered Person --- Transsexual Person --- Two Spirit Persons --- Two-Spirit Person --- Disorders of Sex Development --- Transsexualism --- Health Services for Transgender Persons --- Sex identity (Gender identity) --- Sexual identity (Gender identity) --- Identity (Psychology) --- Sex (Psychology) --- Queer theory --- Colored people (United States) --- Negroes --- Africans --- Ethnology --- Black people --- Anti-Black racism --- Antiblack racism --- Racism against Blacks --- Persons --- Transgender people, African American --- Identity --- African American transgender people. --- Identity. --- Antiracism --- Negro --- Blacks --- Gender dysphoria
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