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The minstrel show, also called minstrelsy, was an American form of theater developed in the early 19th century. The shows were performed by mostly white actors wearing blackface makeup for the purpose of comically portraying racial stereotypes of African Americans. There were also some African-American performers and black-only minstrel groups that formed and toured. Minstrel shows stereotyped blacks as dimwitted, lazy, buffoonish, cowardly, superstitious, and happy-go-lucky. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent.
Master Juba was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and the only one of the era to tour with a white minstrel group. His real name was believed to be William Henry Lane, and he was also known as "Boz's Juba" following Dickens's graphic description of him in American Notes.
The Virginia Minstrels or Virginia Serenaders was a group of 19th-century American entertainers who helped invent the entertainment form known as the minstrel show. Led by Dan Emmett, the original lineup consisted of Emmett, Billy Whitlock, Dick Pelham, and Frank Brower.
Christy's Minstrels, sometimes referred to as the Christy Minstrels, were a blackface group formed by Edwin Pearce Christy, a well-known ballad singer, in 1843, in Buffalo, New York. They were instrumental in the solidification of the minstrel show into a fixed three-act form. The troupe also invented or popularized "the line", the structured grouping that constituted the first act of the standardized three-act minstrel show, with the interlocutor in the middle and "Mr. Tambo" and "Mr. Bones" on the ends.
"Old Dan Tucker," also known as "Ole Dan Tucker," "Dan Tucker," and other variants, is an American popular song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only "Miss Lucy Long" and "Mary Blane" in popularity during the antebellum period. "Old Dan Tucker" entered the folk vernacular around the same time. Today it is a bluegrass and country music standard. It is no. 390 in the Roud Folk Song Index.
The Ethiopian Serenaders was an American blackface minstrel troupe successful in the 1840s and 1850s. Through various line-ups they were managed and directed by James A. Dumbolton (c.1808–?), and are sometimes mentioned as the Boston Minstrels, Dumbolton Company or Dumbolton's Serenaders.
Christopher Haverly (1837–1901), better known as J. H. Haverly or John H. "Jack" Haverly, was an American theatre manager and promoter of blackface minstrel shows. During the 1870s and 1880s, he created an entertainment empire centered on his minstrel troupes, particularly Haverly's United Mastodon Minstrels and Haverly's Colored Minstrels. Under his guidance, these troupes grew to impressive sizes and featured elaborate sets and costumes. They toured widely, enlarging minstrelsy's audience to encompass the entire United States as well as England. Haverly's methods sparked a revolution in minstrelsy as other troupes scrambled to compete. As the costs of minstrelsy increased, many troupes went out of business.
Billy Kersands was an African-American comedian and dancer. He was the most popular black comedian of his day, best known for his work in blackface minstrelsy. In addition to his skillful acrobatics, dancing, singing, and instrument playing, Kersands was renowned for his comic routines involving his large mouth, which he could contort comically or fill with objects such as billiard balls or saucers. His stage persona was that of the dim-witted black man of the type that had been popularized in white minstrel shows. Modern commentators such as Mel Watkins cite him as one of the earliest black entertainers to have faced the dilemma of striking a balance between social satire and the reinforcement of negative stereotypes.
Charles Callender was the owner of blackface minstrel troupes that featured African American performers. Although a tavern owner by trade, he entered show business in 1872 when he purchased Sam Hague's Slave Troupe of Georgia Minstrels.
Primrose and West was an American blackface song-and-dance team made up of partners George Primrose and William H. "Billy" West. They later went into the business of minstrel troupe ownership with a refined, high-class approach that signaled the final stage in the development of minstrelsy as a distinct form of entertainment.
Bryant's Minstrels was a blackface minstrel troupe that performed in the mid-19th century, primarily in New York City. The troupe was led by the O'Neill brothers from upstate New York, who took the stage name Bryant.
Buckley's Serenaders, also known as Buckley's Melodies, was a family troupe of English-born American blackface minstrels, established under that name in 1853 by James Buckley. They became one of the two most popular companies in the U.S. from the mid-1850s to the 1860s, the other being the Christy and Wood Minstrels.
Mechanics' Hall was a meeting hall and theatre seating 2,500 people located at 472 Broadway in New York City, United States. It had a brown façade. Built by the Mechanics' Society for their monthly meetings in 1847, it was also used for banquets, luncheons, and speeches held by other groups.
The stump speech was a comic monologue from blackface minstrelsy. A typical stump speech consisted of malapropisms, nonsense sentences, and puns delivered in a parodied version of Black Vernacular English. The stump speaker wore blackface makeup and moved about like a clown. Topics varied from pure nonsense to parodies of politics, science, and social issues, as well as satirical commentary on political and social issues. The stump speech was a precursor to modern stand-up comedy.
Sanford's Opera Troupe was an American blackface minstrel troupe headed by Samuel S. Sanford (1821–1905). The troupe began in 1853 under the name Sanford's Minstrels. The name changed that same year to Sanford's Opera Troupe. The lineup changed in 1856 and again in 1857, when they disbanded.
"Miss Lucy Long", also known as "Lucy Long" as well as by other variants, is an American song that was popularized in the blackface minstrel show.
Francis Marion Brower was an American blackface performer active in the mid-19th century. Brower began performing blackface song-and-dance acts in circuses and variety shows when he was 13. He eventually introduced the bones to his act, helping to popularize it as a blackface instrument. Brower teamed with various other performers, forming his longest association with banjoist Dan Emmett beginning in 1841. Brower earned a reputation as a gifted dancer. In 1842, Brower and Emmett moved to New York City. They were out of work by January 1843, when they teamed up with Billy Whitlock and Richard Pelham to form the Virginia Minstrels. The group was the first to perform a full minstrel show as a complete evening's entertainment. Brower pioneered the role of the endman.
John Diamond, aka Jack or Johnny, was an Irish-American dancer and blackface minstrel performer. Diamond entered show business at age 17 and soon came to the attention of circus promoter P. T. Barnum. In less than a year, Diamond and Barnum had a falling-out, and Diamond left to perform with other blackface performers. Diamond's dance style merged elements of English, Irish, and African dance. For the most part, he performed in blackface and sang popular minstrel tunes or accompanied a singer or instrumentalist. Diamond's movements emphasized lower-body movements and rapid footwork with little movement above the waist.
John Hodges ; known as Cool White, was an American blackface minstrel entertainer, who wrote or popularized the song "Buffalo Gals", published by him in 1844 under the title "Lubly Fan". There is some dispute as to whether he composed the tune or adapted a traditional air.
George Kunkel was an American theatre manager, impresario, actor, singer-songwriter, and playwright. His son, George Kunkel, was also an entertainer who worked as an opera singer and a silent film and stage actor.
References
- ↑ October and November 1890, S.S.Stewart's Banjo and Guitar Journal.
- ↑ Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America . New York: Oxford University Press. p. 199.: an all-black minstrel troupe.
- ↑ Toll, 1974, p. 57.
- 1 2 3 4 Lott, Eric (1993). Love and Theft: Blackface Minstrelsy and the American Working Class. Oxford University Press. p. 180. ISBN 0-19-509641-X.
- ↑ Toll, 1974, p. 200.
- ↑ Toll, 1974, p. 37-8.
- ↑ Lott, 1993, p. 37: an all-black minstrel troupe.
- ↑ Bernard L. Peterson (1997). The African American Theatre Directory, 1816-1960: A Comprehensive Guide to Early Black Theatre Organizations, Companies, Theatres, and Performing Groups. Greenwood Publishing Group. p. 38. ISBN 978-0-313-29537-9.
- ↑ Toll, 1974, p. 146.
- ↑ Richmond Times-Dispatch, Richmond, Virginia, 6 May 1920.
- 1 2 3 Mahar 362.
- ↑ Toll, 1974, p. 138: an all-female minstrel troupe.
- 1 2 Mahar 363.
- ↑ McCoy, Sharon D. (2009). ""The Trouble Begins at Eight": Mark Twain, the San Francisco Minstrels, and the Unsettling Legacy of Blackface Minstrelsy". American Literary Realism. 41 (3): 232–248. doi:10.1353/alr.0.0022 . Retrieved 10 May 2016.
- ↑ Mahar 359–60.
- ↑ Mahar 359.
- ↑ Mahar 360.