Download e-book for iPad: Staging race: black performers in turn of the century by Karen Sotiropoulos

By Karen Sotiropoulos

ISBN-10: 0674019407

ISBN-13: 9780674019409

ISBN-10: 0674027604

ISBN-13: 9780674027602

Staging Race casts a focus at the iteration of black artists who got here of age among 1890 and global struggle I in an period of Jim Crow segregation and heightened racial tensions. As public leisure increased via vaudeville, minstrel exhibits, and world's festivals, black performers, just like the level duo of Bert Williams and George Walker, used the conventions of blackface to seem in entrance of, and entice, white audiences. while, they communicated a leitmotif of black cultural humor and political remark to the black audiences segregated in balcony seats. With ingenuity and innovation, they enacted racial stereotypes onstage whereas hoping to unmask the fictions that upheld them offstage. Drawing generally on black newspapers and statement of the interval, Karen Sotiropoulos indicates how black performers and composers participated in a politically charged debate in regards to the position of the expressive arts within the fight for equality. regardless of the racial violence, disenfranchisement, and the segregation of almost all public house, they used America's new companies of well known leisure as cars for his or her personal creativity and as spheres for political engagement. the tale of the way African american citizens entered the degree door and reworked pop culture is a principally untold tale. even supposing finally not able to erase racist stereotypes, those pioneering artists introduced black tune and dance into America's mainstream and helped to spur racial development. (20060713)

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In 1893 selling a song proved easier than earning equal representation or demonstrating accomplishment in the professions, in part because musical ability itself fit with the white belief that blacks were emotional—and thus naturally musical—but not intellectual. In no small way, such a belief allowed artists a little more latitude as they searched for public venues where they could perform at the beginning of the twentieth century. {35} Minstrel Men and the World’s Fair Hokum As this generation of artists came of age, they confronted Jim Crow racism, but they also witnessed the rise of businesses in commercial amusement.

C. ”19 Kersands, like many black minstrel performers, was popular with black as well as white audiences, in part because songs such as “Old Aunt Jemima” held more than one meaning. ” Kersands drew this story directly from a slave song—lyrics that were probably familiar to most nineteenth-century African Americans. ”20 The cakewalk had also evolved out of the experiences of Africans enslaved in America. It grew from the ring shout, a style of worship and dance that survived the Middle Passage. The dance developed when enslaved blacks were forced to perform for their owners, and in response, mocked their white audience by exaggerating European dance styles.

He told the press that “these people are no more difficult to manage than other people” and that “though free to go about they seem to have little love or curiosity about strange cities . . ” And likewise, the R. T. Davis Milling Company marketed Nancy Green as if she really were Aunt Jemima, a fictional character. Like a minstrel showman, Davis circulated the myth that Green had been a loyal cook on a Louisiana plantation whose remarkable pancakes wooed Union troops, allowing her owners to escape.

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Staging race: black performers in turn of the century America by Karen Sotiropoulos

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