4. How did the minstrel show change after the Civil War? Prior to the Civil War, the minstrel show was performed by white people with painted black faces, but after the Civil War, black people…
Along with the financial problem associated with Elmer Rice, there were many aspects of the Federal Theatre Project which sparked controversy and debate in society. One of these aspects was one of the units of the project, the Negro Theatre Project. Before this project, very few negroes were allowed any type of place in theatre or jobs relating to theatre. White unions and the prejudice against African Americans during this decade prevented most negroes from even stepping foot into a theatre, let alone perform or be involved with an actual…
Vaudeville was a form of entertainment during the Gilded Age in America which revolved around traveling theatrical acts that included classical musicians, dancers, comedians, trained animals, magicians, female and male impersonators, acrobats, illustrated songs, jugglers, and one-act plays or scenes from plays. Vaudeville began in a formal matter in the mid 1880’s, but evolved from saloon concerts, burlesque, minstrelsy (skits and musical performances mocking blacks), freak shows, and dime museums (centers for entertainment and moral education for the working class). These shows were technically informal vaudeville, although it did not have the name vaudeville at the time. Early workings of vaudeville were thought of as risqué and unsuitable for families and woman. So beginning in the early 1880’s a man named Tony Pastor, a circus ringmaster turned theatre manager, capitalized on changing these acts to feature “polite” variety programs in several of New York’s theaters. The official date given to the birth of actual Vaudeville is October 24th, 1881 at New York’s Fourteenth Street Theater, where Pastor staged the first “clean” vaudeville in New York City. This changed the image of vaudeville, trying to become more family friendly and gain a female audience. In Pastor’s theater he banned liquor, eliminated raunchy material from shows, and even gave audience members gifts such as food or coal.…
As far as the development and demise of vaudeville, there is much to be said. But to truly understand its rise and fall, first one must understand what vaudeville is. Vaudeville was a theatrical genre of entertainment that was popular in the United States from the early 1880s until the mid 1930s. Each performance consisted of a series of unrelated acts grouped together on a common bill. Types of acts included classical musicians, dancers, comedians, trained animals, magicians, impersonators, acrobats, illustrated songs, jugglers, scenes from plays, athletes, lecturing celebrities, and movies.…
In order to fully understand the point of view from which racial representation in Show Boat originates, one must have an historical reference point from which to base it. Musical theater in the United States emerged out of an industry of entertainment striving for legitimacy. Branching away from its European roots, defining America came to be the “central theme in American musicals, to which the other themes relate in both obvious and subtle ways.”1 But to define America, at the time, meant societal introspection. Society, however, was slow to grapple with some of its most obvious shortcomings: the issue of race and inequality. Meant largely as a satire of American society, one of the earliest forms of musical theater in America, the minstrel show, emerged in the 1840s. The minstrel show “always featured the element of satire in lyrics and skits with music that appealed to those who favored loud, raucous, and rhythmically jaunty tunes.”2 Initially absent from these minstrel troupes, African-American representation was left up to the white producers and performers. Thus, blackface found a widespread home in musical performances. Through smearing burned cork over their hands and faces, white actors and singers portrayed what much of society at the time…
The lazy, weak, easily frighten as a coon. The zipcoon is more than that the coon caricature was one of the stock characters of the minstrel show. Audiences laughed at the ignorant, lazy, slow-talking fool who voided work and other responsibilities. With African Americans freed by the Civil War, minstrel shows transformed the coon into a comic caricature of the emancipated Black, either a "Zip Coon" or an "Urban Coon". Zip Coons were urban Black dandies, who "put on airs" by dressing up fancy in imitation of affluent Whites.…
Show Choir is an elective class that integrates choreography into the choral experience. A varied repertoire of 2 and 3 part music is memorized, choreographed and then performed in a concert setting. Vocal technique, developing the ensemble and dance are the main emphasis of this class. Various public performances are presented by this group.…
Starr and Waterman suggest that the popularity of Minstrelsy can be understood as more than a projection of white racism and that “working-class white youth expressed their own sense of marginalization through an identification with African American cultural forms (Starr/Waterman 2007, p.19).” In addition, it was during the Minstrel era that “the most pernicious stereotypes of black people,” including “the big-city knife toting dandy (the “bad negro”) - became enduring images in mainstream American culture, disseminated by an emerging entertainment industry and patronized by a predominantly white mass audience.” (Starr/Waterman 2007, p.21).…
African Americans have been victims of racism on television shows from ever since they started to show on television shows to today. When we see African Americans on television, they are portrayed as stupid comedians, murderers, poor, and uneducated. According to J. Fred MacDonald, the author of Black and White TV: African Americans in Television since 1948, “Television has been inhospitable to blacks who were not middle class and/or pejoratively stereotyped. Less visible, for instance, have been representations of the authentic African-American lower class and urban underclass” (143). This book was written more than twenty years ago and it is saying that African Americans were portrayed as symbolism of poor group on television from 1940s to…
The earliest form of the minstrel show can be contributed to a man named Thomas D. Rice, or often called "Daddy Rice." While walking to a theater in Louisville, Kentucky, he came across a singing slave grooming a horse. The melody intrigued him so much that he wanted to learn it. The lyrics were "You wheel about and turn about and do just so, You wheel about and turn about and jump Jim Crow." Hence, the term "Jim Crow" was coined. The character of Jim Crow was an exaggerated stereotype, who in the…
Mock slave dances were added to early vaudeville shows in a degrading way, and this is how tap became known. Dancers would paint their faces pitch black and dance around in imitation of black farmhands. This type of performance was known as "blackface comedy." Often, rattles and other clacking materials would be placed on the blackface costume. In 1982, the first blackface minstrel show premiered a tapping dance by the famous dancer Thomas Rice. This performance was different from previous ones because of the hard, metallic soles he had blaced on the bottom of his stage shoes. His movements were then immediately imitated by other blackface dancers, and tap became an accepted form of comedy.…
It is the fusion of African and Irish, Scottish, and English dances. Tap dance began in the United States. The common belief was that slaves from Africa and indentured servants from Ireland created tap dancing by combining their own ethnic dances while working on plantations. It was said to have began as “Juba” which was an African slave dance. Current research suggests that tap did not stem from plantations but in crowded, urban environments such as New York City.…
Jazz dance developed from both 19th- and 20th-century stage dance and traditional black social dances and their white ballroom offshoots. On the stage, minstrel show performers in the 19th century developed tap dancing from a combination of Irish jigging, English clog dancing, and African rhythmic stamping. Tap dance and such social dances as the cakewalk and shuffle became popular vaudeville acts and appeared in Broadway revues and musical comedies as these replaced vaudeville early in the 20th century. In addition, comedy, specialty, and character dances to jazz rhythms became standard stage routines. By the 1940s elements of jazz dance had appeared in modern dance and in motion picture choreography.…
Audience members began to grow more comfortable with seeing African Americans on stage. One tremendously famous black actor was Bert Williams. He played a character who was forlorn and miserable. His character made people more aware of how insignificant African American actors and audience members alike felt. This perception was an extremely important factor on the history of Broadway musicals. In the 1920s and 30s, a period known as the Golden Age, musicals began to become more diverse and cultured, showing how this time period was a time of vast progression in Broadway. The Creole Show was one of the first musicals that had a large impact on Broadway. With its music and dancing, it helped change the perception of African Americans. This led to the development of an even more influential musical, Shuffle Along.…
· Minstrels: A minstrel is a musician or a poet. Originally, the minstrels were paid entertainers who worked for the Court and influential personages. They wrote songs about current events and historical victories of their patron and they included rewritings of old songs, legends and ballads in their theatre. The theory that the minstrels were the originators of the ballads was held for quite a long time. They are certainly a factor in the spreading of the ballads into the community; ballads were a stock item in the theatre of the minstrels even when their status had declined to that of street singers. ·…