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Throughout the nineteenth century , jongleur show were one of America ’s favorite ways to kick back and have fun . multitude around the country would flock out to dramatics in droves , ready to laugh at white human in blackface tweak at banjo , make love on tambourine , and pretend to be as obtuse as brick .

It was entertainment . It was , the people thought , dewy-eyed playfulness . They just turned off their minds and express joy — either unaware of or unconcerned about the blackface ’s insidious implications .

Man In Blackface

A white performer in blackface.New York City, New York. Circa 1890-1910.

Minstrel show affected the way in which the Carry Amelia Moore Nation consider an entire race of people . These minstrel shows did more than entertain – they exchange the manner the great unwashed think . For many blank people , the only exposure they had at all to black Americans came through the blackface caricatures that they see on stage .

They would watch stock character in shattered dress scramble through a broken , Pidgin English . They ’d express joy at the ease of these character ’s minds — and , often , they ’d accept these picture as a mirror of reality .

Finally , as public opinion started to turn against slavery , southern whites begin playing up the stupidity of minstrelsy ’s black fibre . Whites used the poet-singer shows to show pitch-dark people as dense and wildcat , as mass in need of the whips and chains of white culture to keep them from going wild .

Where Da Watermelon Grow

Even as black masses started earning their freedom , minstrel shows still decree their lives . The first black entertainers could only get work by playing folk singer roles in vaudeville shows and genus Circus . They dressed up like caricatures of their own race and pretended to be changeling , the men often wearing dress and fill out their behinds . The only elbow room they could get work was to – in thewords of Frederick Douglass , " pander to the tainted taste perception " of the " filthy trash of white society . "

But blackface and minstrel show are n’t just a matter of the past tense . They ’ve live on for far longer than most people recognise . The BBC keptThe Black and White Minstrel Showon the melodic line until 1978 . Old folk singer song like " Camptown Races " are still songs we sing to our child . And evenRaggedy Ann ’s iconic design were both modelled after blackface performers .

Blackface represents a dark period in American history – but one that is n’t a forget part of our distant past . The consequence of blackface still linger on today , lurking under the airfoil of modern animation .

Mills Thompson Blackface

Next , bump out about the disturbing chronicle ofJim Crowandsegregation in America .

Radio Four Blackface Singers

Miller And Lyles Vaudeville

Man In Blackface

Man In Blackface

Man In Blackface

Man In Blackface

Man In Blackface

Man In Blackface

Where Da Watermelon Grow

Where Da Watermelon Grow

Mills Thompson Blackface

Mills Thompson Blackface

Radio Four Blackface Singers

Radio Four Blackface Singers

Man In Blackface

Radio Four Blackface Singers