Starting within the 1830s and carrying on with for greater than a century, blackface minstrelsy―stage performances that claimed to symbolize the tradition of black Americans―remained arguably the most well-liked leisure in North the US. A renewed scholarly curiosity during this contentious kind of leisure has produced experiences treating various concerns: its contradictory depictions of sophistication, race, and gender; its position within the improvement of racial stereotyping; and its legacy in humor, dance, and tune, and in concert, movie, and tv. the fashion and substance of minstrelsy persist in renowned tune, faucet and hip-hop dance, the language of the standup comedian, and daily rituals of up to date tradition. The blackface make-up all yet disappeared for a time, although its impression by no means diminished―and lately, even the make-up has been coming round again.

This number of unique essays brings jointly a bunch of well-known students of blackface functionality to mirror in this complicated and complicated culture. Essays think of the early dating of the blackface performer with American politics and the antislavery circulation; the connection of minstrels to the usual compromises of the traveling "show" company and to the mechanization of the commercial revolution; the exploration and exploitation of blackface within the mass media, by means of D. W. Griffith and Spike Lee, in early sound animation, and actually tv; and the hot reappropriation of the shape at domestic and abroad.

In addition to the editor, participants comprise Dale Cockrell, Catherine Cole, Louis Chude-Sokei, W. T. Lhamon, Alice Maurice, Nicholas Sammond, and Linda Williams.

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