LEADER 04149nam 2200781 450 001 9910465011603321 005 20200520144314.0 010 $a0-252-09611-8 035 $a(CKB)3710000000202200 035 $a(EBL)3414368 035 $a(SSID)ssj0001266329 035 $a(PQKBManifestationID)11735739 035 $a(PQKBTitleCode)TC0001266329 035 $a(PQKBWorkID)11243975 035 $a(PQKB)10263231 035 $a(MiAaPQ)EBC3414368 035 $a(StDuBDS)EDZ0001643079 035 $a(OCoLC)884725834 035 $a(MdBmJHUP)muse32434 035 $a(Au-PeEL)EBL3414368 035 $a(CaPaEBR)ebr10901916 035 $a(CaONFJC)MIL629342 035 $a(OCoLC)889305928 035 $a(EXLCZ)993710000000202200 100 $a20140816h20142014 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aRing shout, wheel about $ethe racial politics of music and dance in North American slavery /$fKatrina Dyonne Thompson 210 1$aUrbana, [Illinois] :$cUniversity of Illinois Press,$d2014. 210 4$dİ2014 215 $a1 online resource (257 p.) 225 1 $aNew Black Studies Series 300 $aIncludes index. 311 $a0-252-07983-3 311 $a0-252-03825-8 320 $aIncludes bibliographical references and index. 327 $aThe 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-- 330 $a"In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved. As Thompson shows, however, blacks' "backstage" use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion. Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots"--$cProvided by publisher. 410 0$aNew Black studies. 606 $aSlaves$zSouthern States$vSongs and music 606 $aSlaves$zUnited States$xSocial life and customs 606 $aRace in the theater$zUnited States$xHistory 606 $aTheater and society$zUnited States$xHistory 606 $aAfrican American dance$xHistory 606 $aSlavery$zUnited States$xJustification 606 $aPlantation life$zUnited States 606 $aRacism in popular culture$zUnited States$xHistory 608 $aElectronic books. 615 0$aSlaves 615 0$aSlaves$xSocial life and customs. 615 0$aRace in the theater$xHistory. 615 0$aTheater and society$xHistory. 615 0$aAfrican American dance$xHistory. 615 0$aSlavery$xJustification. 615 0$aPlantation life 615 0$aRacism in popular culture$xHistory. 676 $a390/.250973 700 $aThompson$b Katrina Dyonne$0901355 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910465011603321 996 $aRing shout, wheel about$92014727 997 $aUNINA