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Record Nr. |
UNINA9910812509503321 |
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Autore |
Thompson Katrina Dyonne |
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Titolo |
Ring shout, wheel about : the racial politics of music and dance in North American slavery / / Katrina Dyonne Thompson |
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Pubbl/distr/stampa |
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Urbana, [Illinois] : , : University of Illinois Press, , 2014 |
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©2014 |
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ISBN |
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Descrizione fisica |
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1 online resource (257 p.) |
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Collana |
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Classificazione |
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SOC001000PER003000HIS036040 |
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Disciplina |
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Soggetti |
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Enslaved persons - Southern States |
Enslaved persons - United States - Social life and customs |
Race in the theater - United States - History |
Theater and society - United States - History |
African American dance - History |
Slavery - United States - Justification |
Plantation life - United States |
Racism in popular culture - United States - History |
Racism against Black people |
Blackface |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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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-- |
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Sommario/riassunto |
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"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 |
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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"-- |
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