Introduction
Minstrelsy shows started to spread performances in theatres in America, especially blackface ones. Blackface Minstrelsy was the show where white people portrayed Blackface. This show appeared before Civil War and included many themes, such as masculinity, race, class, culture, and gender, but the theme of race was trendy, as the performances were racist in nature. The Civil War made a significant contribution to the development of Minstrelsy and different assumptions about Black people. The actors in the show were white people who colored themselves in black ones, which looked offensive to black people. The main idea of these performances was to make fun of enslaved black people and to show these people from the worst sides. Although such shows were full of racial stereotypes, such interactions made the culture of black people famous and expanded knowledge about them. Moreover, these shows were popular abroad, especially in Europe, so information about black people’s culture spread worldwide. Blackface Minstrelsy consisted of racial prejudices and illustrated black people as lazy, criminal, ignorant, superstitious, and hypersexual, but these shows expanded the knowledge and culture of black people, which helped them to improve their lives.
Research Question: How did Blackface Minstrelsy shows affect people’s prejudices of African-Americans and their future opportunities and performances contribution to the development of African-American culture?
Hypothesis: Blackface Minstrelsy influenced the development of American musicals, created many new entertainments, and promoted African-American culture, but it was racist in nature and created various stereotypes about Black people, which remain present and affect their lives.
The Theme of Race and Racism in the Blackface Minstrelsy Shows
The Blackface Minstrelsy show’s central theme was racism, as the whole show was based on racial fantasies created by northern urban whites. The exact origin of this show is unknown, and white people tend to think that these performances had black Southern roots, so everything performed on the stage was true (West 2). Blackface Minstrelsy in America began in the North and evolved from the fantasies of white people about black ones (West 2). These fantasies were wholly fictional and based on white people’s imagination. Black people were portrayed as unserious and clowns. In addition, there was no separation of black people and other enslaved people, such as Irish or Scots. For example, in the 19th century, the Irish and Scots who came to America were considered black servants (West 3). This example proves that Blackface Minstrelsy shows were based on racial inequality, without separating enslaved Black people from others. Furthermore, Minstrelsy shows the idealized plantation life of black people (West 4). Therefore, the Blackface Minstrelsy ideas and performances were based on racism and imagined illustrations of the life of black people, without even separating these groups of enslaved people from others.
The Development of Racial Ideologies
Blackface Minstrelsy’s domination over American musicals established the circulation, construction, and development of racist and racial ideologies in everyday life and commercialized styles. African-Americans were shown as people who could not feel pain and could stand jeer. This presentation resulted in cruelty toward Black people in real life and empowered racial ideologies (Morrison 786). Minstrelsy showed developed racial stereotypes and thoughts that white people are better than black, so structural racism, segregation, and racial hierarchies were maintained (Morrison 787). The wrong performance of the lives and habits of African-Americans on the stage strengthened the supremacy of white people and empowered racial ideologies. During minstrelsy performances, American Negroes were shown as terrifying people, and children feared them. For example, during one such performance, when a child saw a Black man, he cried that he was frightened of the Negro. Adults saw African-Americans as a threat, people, who were to be punished, and children’s prejudices about this race were based on fear. Thus, Blackface Minstrelsy started the development of racial ideology and racism among Americans due to the wrong portrayal of American Negroes, as the ones who could stand the pain and scare children.
Various Racial Stereotypes Created and Developed by Minstrelsy Shows
Blackface Minstrelsy created farcical stereotypes about black inferiority and prejudices that American Negroes are uncivilized and unrestrained. The main aim of these shows was to entertain white people, so the trustfulness of the plot was not taken into account and was created. Furthermore, the portrayal of the life of black people was regarded as authentic, but it was not valid. As a result, black people were shown as uncivilized and inferior. For instance, black people were portrayed with dirty-black faces, red lips, excessive hair, and garish, overly sexualized, and dribbling pseudo dialect (Davis 73). These appearances created strong racial stereotypes that influenced white people’s presumptions of black people. In addition, Blackface Minstrelsy was popular in the USA and abroad and significantly impacted people’s views. In this case, foreigners only got knowledge of the African-American culture from these performances, which resulted in the wrong acceptance of this nation in the USA and abroad. Hence, Blackface Minstrelsy had a leading role in creating racial stereotypes and led to presumptions about black people’s lives, as these shows showed black people from the worst side, which was a fudge aimed to entertain white people.
Sambo and Jim Crow as Main Stereotypes
Moreover, images of the Sambo, Jim Crow, were transformed into stereotypes about Black people through Blackface Minstrelsy. These stereotypes especially had a significant impact on the attitude of white people toward black ones. Generally, all characters darkened his face with burnt cork and wore black wings, symbolizing plantation darky (Barnes). The Sambo stereotype of a lazy and happy black slave was created during Civil War and popularized through music and minstrelsy performances (Green). This stereotype was widely used in different performances and created a negative image of American Negroes. The character of Jim Crow was created during minstrel performances and was the root of all shows. The popularity of this character was incredibly increasing, as people’s presumptions on the whole nation of American Negroes. Furthermore, the image of Jim Crow was extremely popular in the west and North. However, people there had no contact with real American Negroes, so their acceptance of this race was based only on this minstrelsy character and other stereotypes (Green). Therefore, minstrel shows created many stereotypes about American Negroes, further popularized and accepted as actual facts by people who have never seen black people in real life.
Female Racial Stereotypes in Minstrelsy Shows and Their Most Famous Examples
The most enduring female racial stereotype from minstrelsy shows is The Mammy, which was implemented as an excuse for slavery. This stereotype was created in the South but lately permeated every American region. The Mammy was described as a fiercely independent woman, whose main goal was to serve the white family (Athnasios 3). The main aim of the woman was to serve her master and mistress. It was believed that the Mammy selflessly served the couple’s children and loved them more than her own (Athnasios 3). In addition, the contrast between Mammy’s attitude toward her family and the white one was clearly illustrated. The woman respected the white family and was a tyrant in her own. The Mammy controlled her children and husband, and the portrayal of a Black woman’s domination over her husband served as proof of man’s inferiority to white people (Athnasios 3). The masculine looks of Mammy was proof that woman was not an obstacle for white women, as she lacked sexuality. Thus, the female racial stereotypes influenced the prejudices against Black women and showed them as unsexual, authoritative for their men, and a good servant for white families.
Influence of Stereotypes on Black People’s Participation in the First World War
The developed stereotypes of Black people influenced Canadians’ prejudices, and Black Canadians were not involved in combats during First World War. During the 1850s and 1920s, white Canadian audiences were underpinned Minstrelsy by various sets of assumptions about Black people (Thompson 70). As Americans, Canadians started to interpret Blackface Minstrelsy performances as authentic ones, which resulted in making many crucial decisions about Black people living conditions and participation in different events, especially the First World War. Although the No. 2 Construction Battalion was the first battalion of Black Canadians to participate in war – it was also the last one due to Canadian’s prejudices against Black people. According to racial stereotypes created by minstrel shows, Black Canadians were considered unfit for combat because they were portrayed as lazy and were suitable only for unskilled duties (Thompson 73). Black people who were willing to participate in the Canadian Expeditionary Forces were dehumanized, and the superiority of white Canadians was promoted. However, Blackface has been an essential part of Canadian military culture since the 19th century (Thompson 74). Hence, Blackface stereotypes developed Canadian assumptions toward Black people, which resulted in unequal attitudes toward them during First World War.
Fear of Supremacy of Black People Over White Because of the Civil War
Furthermore, especially after Civil War, white Americans started to have fears about the role of Black people in society, which negatively influenced their attitude toward American Negroes and developed racial inequality. White Americans were afraid of switching roles with Black Americans, especially after the beginning of the American Civil War. Moreover, some Americans even believed that after the victory of the Union, white people would be enslaved by black ones, who would come on the backgrounded ships (Davis 79). These presumptions strengthen negative and violative attitudes toward African-American. Moreover, a few performances of minstrel shows and various pictures were based on such fears. For instance, Burr made a performance called “a white slave,” where the position of the white boy was lower than the Black man’s (Davis 79). The picture illustrated the resentment and racial fear that was popularized among white Americans. As a result, Blackface Minstrelsy started to negatively illustrate Black people for white to have no fear of them and encourage white supremacy. Therefore, Minstrels showed lower fear of white people that their role with Black ones could change, especially after Civil War, and encouraged unrespectful attitudes toward African-Americans.
Methods Used to Prove “Authenticity” of the Shows and Their Impact on Society
To prove the show’s authenticity, Blackface Minstrelsy had Black actors and actresses, influencing people’s perceptions of the culture of American Negroes and its “truly” illustration. In the beginning, minstrel shows were performed only by white actors, but with time and the increasing popularity of these performances, Black actors were also involved. Furthermore, involving Black actors made the show more real and created a negative image of Black people and their lives. For instance, black people were demonstrated with comic repartee and without any norm of genteel behavior (Davis 75). In each performance, American Negroes were illustrated as conniving, pretentious, dim-witted, and wearing short stupid costumes (Davis 76). As a result, people could not think of American Negroes otherwise, only as an uncouth nation. However, black actors were involved in the performance, and the white audience did not wish to see them on the stage; white actors transformed into black people, which was disrespectful to black people. Thus, black people were shown as a lower class of society, and the use of black actors helped to prove its authority, but even then, people wished to see white actors rather than black ones.
Using Language During Shows as a Way to Make Them More Authentic
Although visual effects were used to make performances more authentic, the use of minstrelsy songs increased such effects, attracted more people, and showed a connection between race and the sound it produced. As it was mentioned before, the first minstrel shows were primitive, and to capture the audience’s attention, these performances were developed and included different factors to make them more authentic. In addition, the use of specific language during performances showed the connection between race and sound in the shows (Lopez 18). For instance, such a connection showed that sounds that are expected come from Black people. This assumption suggests that for white people to understand minstrelsy performances better, it is essential to see and hear the character’s identity (Lopez 18). As a result, including language and sound during performances, which was transformed to entertain the audience, made characters more authentic, and attracted much more visitors. In addition, the use of language promoted Blackface Minstrelsy popularity, which also positively impacted the lives of American Negroes. Hence, language was used to support visual effects, attract more people, emphasize the connection between race and sound, and make the show even more authentic.
The Role of Language During Performances and Its Transformation
Language played a significant role in minstrelsy performance and imitation of the language of African-Americans as immature and unclear, strengthening presumptions that Black people are ignorant. Moreover, the hierarchy of actors in minstrelsy troupes was established. As a result, white actors believed they were most suitable to play Black people rather than African-Americans (Lopez 17). This statement is explained by people’s desire to entertain the audience and not to show the actual realities of the life of African-Americans. In addition, to make performances more enjoyable, not only actions but also language and different accents were used. Even though African-Americans spoke the same language as white people, and there were no significant differences between their speeches and accents, Blackface Minstrelsy’s interpretation differed. Moreover, the shows made Black people’s dialect humorously inferior to white ones. This segregation aimed to show the differences between African-Americans and white people and to emphasize the supremacy of the last ones. Therefore, to emphasize differences between African-American and white people and to show white supremacy, the humorously inferior dialect of Black people during performances was used, and the advantage to perform was given to the white actors.
Normalization of Violence Towards Black People Because Of Minstrelsy Shows
Blackface Minstrelsy normalized violence towards African Americans, leading to difficulties with medicinal treatment and help for Black people. During the performance, Blackface people were portrayed as ones who could be physically abused. Moreover, it was emphasized that American Negroes are immune to pain, but this fact was complete fiction. The abusive attitude towards African-Americans was promoted during amusement carnivals, including public lynching (Ermolaeva 4). Such descriptions of Black people encouraged disciplinary violence on fields against African-Americans, leading to the death of enslaved people, as white foremen could establish abusive conditions for Black people. The popularity of minstrel shows increased, as the violence against Black people in those days, which remains until presently. For example, it is more difficult for African-Americans to get necessary medical treatment or painkillers compared to white people (Ermolaeva 5). Sometimes, no attention might be paid to the Black patients due to racial prejudices from minstrels shows. In this case, Blackface Minstrels influenced the global attitude toward Black people then and even now. Thus, promoting violence toward African-American during performances encouraged abusive attitudes toward them in real life, influencing the life of Black people then and now.
Positive Cultural Changes in America Due to Blackface Minstrelsy
On the other hand, the Blackface Minstrelsy shows transformed into professional performances entertaining not only middle-class white people but also specific audiences. These changes were caused by minstrelsy performances becoming famous abroad, in Europe and Asia. Firstly, in the beginning, minstrel shows had no music and no plot; these shows only ridiculed the behavior of American Negroes (Lee 62). However, such an approach could not keep the audience’s attention for a long time, and watching the same plot based on making fun of black people became boring. Secondly, the first performances were made by white men for white audiences, and Black people were shown negatively (Lee 63). Nevertheless, Minstrelsy shows transformed into high-qualified shows, where women marked standing and standard, and pantomime was partnered with propriety. As a result, people’s presumption of Black people as uncivilized started to change. Lastly, the nature of performances changed, as they took place not only in music halls but also in the parlors of homes, which required them to be more attractive (Lee 62). Hence, the growing popularity of Minstrelsy shows abroad changed their nature to meet each audience’s expectations and changed people’s presumptions about black people.
Connection Between Blackface Minstrelsy and Puppetry Theaters in America
Blackface Minstrelsy influenced the development of puppetry theatres in America and changed blackface puppetry to more authentic ones. To begin with, Paul McPharlin made an outstanding contribution to such improvement. This man established a trend in puppetry theater, where puppeteers did not exaggerate blackface minstrel puppet characters (West 6). Moreover, Paul McPharlin promoted the more realistic illustration of blackface people during puppetry performances. Paul stated that puppeteers’ prejudices are crucial for puppetry performances, and the less puppeteer wants to make a fool of blackface people, the more realistic image is formed (West 6). In addition, McPharlin paid attention to the fact that blackface characters are widely used during different performances. For example, 10% of American puppeteers have adapted the book called “Little Black Sambo” (West 6). Moreover, in 1934 more than 25% of puppeteers in America depended on blackface puppets (West 6). Lastly, especially the significant role blackface puppets played in theaters in rural communities. The massive presence of Blackface in theatres changed their role and made them more realistic. Therefore, Blackface Minstrelsy contributed to the development of puppetry theatres and changed their role from inferior to realistic and enjoyable.
The Development of Different Entertainment Styles in America and Abroad
Blackface Minstrelsy inspired the development of American musicals, and the songs, used in the shows promoted the culture of African-Americans. The great success of Minstrelsy shows encouraged Black musicians to form blackface troupes themselves. As a result, vaudeville and ragtime were spread, and American musicals were created (Ermolaeva 3). Furthermore, despite the racist roots of minstrel shows, African-American culture was developing through the spread of their songs during performances. To make shows more natural, the authentic songs of Black people were used. However, a few years later, blackface minstrelsy became taboo, but the songs became a significant part of American musicals, and some songs even transformed into folk ones. For instance, the song “I’ve Been Working on the Railroad” was whitewashed and became a folk song for children (Ermolaeva 4). In addition, Blackface Minstrelsy inspired many other projects, such as Mickey Mouse. The origin and appearance of this character were taken from minstrel shows (Ermolaeva 3). In this case, the racial roots of these performances helped to develop American musicians and other ways to entertain people and also promote African-American culture. Thus, Blackface Minstrelsy encouraged the development of African-American culture and promoted American music.
The Racist Roots of Minstrelsy Songs and Their Use and Impact at Schools
On the contrary, some of the minstrelsy songs are considered racist, and presently many American teachers remove these songs from school programs. Although minstrelsy songs were authentical and promoted the culture of African-Americans, some songs promoted racial inequality. Furthermore, the process of whitewashing in the 20th century transformed these songs into acceptable and widespread, hiding their racial roots (Ermolaeva 5). As a result, many minstrelsy songs children learn at schools negatively illustrate Black people and their life. For example, the song “Dere’s Some One in de House wid Dinah” illustrates a drunk Black plantation laborer who got furious after finding out that somebody played banjo in the house with his mistress (Ermolaeva 6). This song shows the Black man as unsteady and dangerous, who cannot control himself, and these illustrations affect children’s presumptions about Black people. In this case, it is essential to analyze the songs implemented in the school program and separate racial songs from authentic ones that promote African-American culture. Hence, not each minstrelsy song promotes African-American culture, and it is essential to divide these songs into authentic and racial and remove the last ones from educational programs.
Opportunities for African-Americans to Promote Their Culture and Career
Lastly, Blackface Minstrelsy created many opportunities for Black actors to become famous and notable and develop and popularize African-American culture. To begin with, Minstrelsy shows encouraged many Black people for changes and helped them to become notable and even create new styles in music and dancing. Although the privilege during the performance was given to white actors, but further development of Minstrelsy promoted many Black actors. For example, William Henry Lane, also known as Mater Juba, was the first African-American actor to participate in blackface shows (Thompson 68). Furthermore, William Lane was the originator of African American dance (Thompson 69). Another person is Charles Barney Hicks, and he is regarded as the father of black Minstrelsy (Thompson 69). These troupes showed the reality of the life of Black people without presumptions. In addition, the rapid development of minstrel shows made African-Americans marketable as entertainers. In this case, the desire of white people to ridicule Black ones served as an excellent opportunity for African-American to improve their lives and cultural background. Therefore, despite their racial nature, Blackface Minstrelsy allowed many African-American actors to develop their careers and improve life by popularizing their culture.
Influence of Success of Black People on Popularization of Minstrels Abroad
The rapid growth of the popularity of Black actors and their cooperation with famous brands promoted their careers and made Minstrelsy shows famous abroad. Thomas Dilward is an excellent example of the influence of Black people on the development of Minstrelsy and the improvements of life quality of American Negroes (Lee 62). Firstly, this man cooperated with all-black troupes and integrated companies such as Charles B. Hicks’s Original, Wood’s, Morris Brothers’, Dan Bryant’s, and Kelly and Leon’s Minstrels (Lee 63). Secondly, this Black actor performed worldwide, especially in Great Britain and Ireland. In addition, Thomas’s performances promoted Minstrelsy’s popularity, his career, and the culture of African-Americans. Moreover, Thomas Dilward’s career was long-lasting, and he took part in various performances all around the globe. His success encouraged other Black actors to continue to develop and not give up. Lastly, this man was independent of the companies he worked with (Lee 63). That is why Thomas Dilward’s contribution to the development of Minstrelsy and the promotion of African-American culture is significant. Thus, the fame of Black actors was used to promote minstrelsy shows and spread information about African-Americans’ culture and actual features.
Conclusion
To sum up, Blackface Minstrelsy significantly contributed to the history of America and Black people. The first shows were primitive and had no plot and their main idea was to entertain people. These shows had racial roots and popularized racism and the ideology of the supremacy of white people. Black people were illustrated as uncivilized, lazy, and ignorant during the first performances, without manners. Many racial stereotypes were created and developed, such as that Black people are immune to pain so that white people could beat them without any consequences. This stereotype promoted violence toward African-American, which is presented even now, despite racial equality. On the other hand, minstrel shows popularized African-American culture, such as songs that were authentic and widely used during performances. People’s knowledge about Black people increased. Many Black actors could develop their careers thanks to blackface performances, and many Black people got an opportunity to improve their living conditions and people’s prejudices about the culture of African-Americans. The American musical was developed, and many other entertainments were created and performed by African-Americans. Therefore, minstrelsy performances had advantages and disadvantages and influenced the life of Black people.
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