04353nam 2200829 450 991078679380332120230329000411.00-252-09611-8(CKB)3710000000202200(EBL)3414368(SSID)ssj0001266329(PQKBManifestationID)11735739(PQKBTitleCode)TC0001266329(PQKBWorkID)11243975(PQKB)10263231(MiAaPQ)EBC3414368(StDuBDS)EDZ0001643079(OCoLC)884725834(MdBmJHUP)muse32434(Au-PeEL)EBL3414368(CaPaEBR)ebr10901916(CaONFJC)MIL629342(OCoLC)889305928(EXLCZ)99371000000020220020140816h20142014 uy 0engur|n|---|||||txtccrRing shout, wheel about the racial politics of music and dance in North American slavery /Katrina Dyonne ThompsonUrbana, [Illinois] :University of Illinois Press,2014.©20141 online resource (257 p.)New Black Studies SeriesIncludes index.0-252-07983-3 0-252-03825-8 Includes bibliographical references and index.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--"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"--Provided by publisher.New Black studies.Enslaved personsSouthern StatesSongs and musicEnslaved personsUnited StatesSocial life and customsRace in the theaterUnited StatesHistoryTheater and societyUnited StatesHistoryAfrican American danceHistorySlaveryUnited StatesJustificationPlantation lifeUnited StatesRacism in popular cultureUnited StatesHistoryRacism against Black peopleBlackfaceEnslaved personsEnslaved personsSocial life and customs.Race in the theaterHistory.Theater and societyHistory.African American danceHistory.SlaveryJustification.Plantation lifeRacism in popular cultureHistory.Racism against Black peopleBlackface390/.250973SOC001000PER003000HIS036040bisacshThompson Katrina Dyonne1522602MiAaPQMiAaPQMiAaPQBOOK9910786793803321Ring shout, wheel about3762372UNINA