ISBN:
9780252096112
,
0252096118
Language:
English
Pages:
Online Ressource (257 pages)
Series Statement:
New Black Studies Series
Parallel Title:
Print version Ring shout, wheel about
DDC:
390/.250973
Keywords:
Slaves Songs and music
;
Southern States
;
Slaves Social life and customs
;
United States
;
Race in the theater History
;
United States
;
Theater and society History
;
United States
;
African American dance History
;
Slavery Justification
;
United States
;
Plantation life United States
;
Racism in popular culture History
;
United States
;
Slaves Songs and music
;
Slaves Social life and customs
;
Race in the theater History
;
Theater and society History
;
African American dance History
;
Slavery Justification
;
Plantation life
;
Racism in popular culture History
;
Race in the theater History
;
Theater and society History
;
African American dance History
;
Slavery Justification
;
Plantation life
;
Racism in popular culture History
;
Slaves Social life and customs
;
Slaves Songs and music
;
Theater and society History
;
United States
;
Southern States
;
United States
;
SOCIAL SCIENCE ; Ethnic Studies ; African American Studies
;
PERFORMING ARTS ; Dance ; General
;
HISTORY ; United States ; 19th Century
;
SOCIAL SCIENCE ; Customs & Traditions
;
African American dance
;
Plantation life
;
Race in the theater
;
Racism in popular culture
;
Slavery ; Justification
;
Slaves
;
Slaves ; Social life and customs
;
Theater and society
;
History
;
Songs and music
;
Electronic books
;
Southern States
;
United States
;
Electronic books
;
Electronic book
;
Electronic books History
;
Music
Abstract:
"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"--
Description / Table of Contents:
The script : "Africa was but a blank canvas for Europe's imagination"Casting : "They sang their home-songs, and danced, each with his free foot slapping the deck" -- Onstage : "Dance you damned niggers, dance" -- Backstage : "White folks do as they please, and the darkies do as they can" -- Advertisement : "Dancing through the Streets and act lively" -- Same script, different actors : "Eb'ry time I weel about, I jump Jim Crow" -- Epilogue : the show must go on -- -
Note:
Includes index. - Includes bibliographical references and index. - Text in English. - Print verison record
,
Text in English
URL:
Volltext
(URL des Erstveröffentlichers)
URL:
Volltext
(URL des Erstveröffentlichers)
