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Problems with racism in literature
Racism in American Literature
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Blackface minstrelsy became a popular form of entertainment in the early nineteenth century. Predominately, minstrel shows were performed to crowds of white working class men, by white actors who would use burnt cork, or shoe polish to blacken their skin and would create racist stereotyped characters of black people. These characters functioned to instill conceptions of white superiority into popular culture whilst at the same time oppressing black society. The characters invented were often portrayed as childlike, unintelligent and dependent on the civilisation of white society in the form of slavery. By examining the changes that minstrelsy underwent during the nineteenth century, the function that the racist stereotypes performed will become evident.
Blackface minstrelsy was an established nineteenth century form of onstage entertainment most popular in the northern states of America which intentionally created exaggerated stereotypes of black people for prominently white working class male audiences . White performers would blacken their faces with burnt cork or black grease and perform skits, songs and dances and act out their image of black people. Rather than present an accurate depiction of African Americans and authentic portrayals of the qualities of ‘negro’ life, minstrelsy reflected the ideas and conceptions of white society . The content of the shows however was altered to create images of blacks and slaves that suited white northern public opinion . White actors now had the opportunity to manipulate black identity and reinforce notions of white superiority, and by portraying blacks as uncivilised it reinforced the need for slavery. This white produced black identity served to reinforce racial differences, and all...
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... Cain: Blackface performance from Jim Crow to Hip Hop. Massachusettes: Havard College.
Lott, E. (1993) Love and theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press.
Pfeiffer, K. (2002) Race passing and American Individualism. Massachusettes: University of Massachusetts Press.
Pieterse , J. (1992) White on Black Images of Africa and Blacks in Western Popular Culture. London: Yale University Press.
Sussman, R. (2001) The Carnavalizing of race. New York: Columbia University press.
Toll, R. (1971) From Folktype to Stereotype: Images of Slaves in Antebellum Minstrelsy . Indiana: Indiana University press.
Watkins, M. (1994) On the Real Side: Laughing, Lying, and Signifying—The Underground Tradition of African-American Humor that Transformed American Culture, from Slavery to Richard Pryor. New York: Oxford University Press.
3) Stereotypes of Race “Who, Negroes? Negroes don’t control this school or much of anything else – haven’t you learned even that? No, sir, they support it, but I control it. I’s big and black and I say ‘Yes, suh’ as loudly as any burrhead when it’s convenient, but I am still the king down here” (Ellison
In class, we watched a film called Ethnic Notions. In this film, it brought to light how devastating and powerful images can be. Due to exaggerated images and caricatures created pre-civil war era of black men and women, stereotypes were created and have negatively affected the black race in society. Caricatures, such as the Sambo, Zip Coon, Mammy, and Brute, have unfortunately been engrained in the minds of generations. So much so their stereotypes still persist today.
Concerning the nature of myths, one can often find that they are built on broad generalization lacking the premises necessary to make a solid conclusion. Such was the same myths, Pier Larson sought to disprove in his essay “The Student’s ‘Ten Commandments’.” Larson discuss damaging and caustic stereotypes that have worked their way throughout history to create a narrative that often subordinates Blacks when promulgated by a more affluent European society . One myth in particular appears to be quite troubling for its contradictory nature-that being the myth: all Africans are Black. Additionally, to be African is to be Black, Africans are not culturally diverse, and that Africans share one, essentially unified culture. Not only do I find these troubling for their outright abasement of African culture, which is plain to see, but rather for the duplicitous logic that lead to the creation of such myths, and why they remain so harmful when they are continued to be spread in contemporary.
The minstrel show is considered by many as the first American form of musical theatre (Bordman, 2010). However, the tradition of minstrelsy, in various forms, dates back to well before Thomas Dartmouth Rice first jumped Jim Crow. In the sixteenth and seventeenth century, it was common for actors to darken their faces for dramatic effect, as illustrated by Shakespeare’s Othello (Strausbaugh, 2010). It could be said that minstrelsy continues to be alive and well today, in the form of reality television and hip-hop culture. While opinions on what may be considered minstrelsy today may differ, there is no denying that Rice revolutionized how the centuries old tradition of blackface was used to create a new art form, the minstrel show.
Turner, Darwin T. "Visions of Love and Manliness in a Blackening World: Dramas of Black Life Since 1953." Black Scholar 25.2 (1995): 2-13. EBSCO. Wake Co. Public Lib. 5 Jan. 2001 <http://www.ebscohost.com>.
Marlon T. Riggs’ video, Color Adjustment, offers the viewer an exciting trip though the history of television, focusing on the representation, or lack thereof, of African-Americans. A perfectly chosen combination of television producers, actors, sociologists, and cultural critics join forces to offer insight and professional opinion about the status of African-Americans in television since the inception of television itself. As Color Adjustment traces the history of television shows from Amos n’ Andy and Julia to "ghetto sitcoms" and The Cosby Show, the cast of television professionals and cultural critics discuss the impacts those representations have on both the African-American community and our society as a whole. Color Adjustment continually asks the question: "Are these images positive?" This video raises the viewer’s awareness about issues of positive images for African-Americans on television.
When a party guest stereotypes Invisible Man and asks him to sing a “spiritual” he disrespects and de-legitimizes the artistry and cultural heritage of African-Americans. This points to a larger issue in the novel of how one utilizes one’s heritage for identity purposes and how the de-legitimizing of vernacular forms of expression through stereotyping can alienate one’s self from its own history and
Brown, Ernest Douglas. "Africanisms in American Culture." JSTOR. University of Illinois Press, n.d. Web. 06 Mar. 2014.
Woll, Allen L and Randall M Miller. Ethnic and Racial Images in American Film and Television: Historical Essays and Bibliography. n.d. Print.
The image on the left is of the Virginia Serenaders, which were a group of white actors that took on the guise of African American individuals. These actors were quite famous amongst the public. The poster allows the viewer to see the transformation from a white man to an African American man, highlighting the profound effect of “black face”. Moreover, it reinforced how society viewed African Americans, since there is a major contrast between the stature of the white men and their black face characters. The white actors appear to be sophisticated and well-kept, while their black counterparts appear to be loud and rambunctious.
Krasner, David. Resistance, Parody, and Double Consciousness in African American Theatre: 1895-1910. Basingstoke: MacMillan, 1997. Print.
Karenga, Malauna. Introduction to Black Studies. Los Angeles: University of Sankore Press Third Edition, 2002.
Since 1945, in what is defined by literary scholars as the Contemporary Period, it appears that the "refracted public image"(xx) whites hold of blacks continues to necessitate ...
Gabriel, Deborah. Layers of Blackness: Colourism in the African Diaspora. London: Imani Media, 2007. Print.
Although the concept is off-limits and offensive in culture today, he defends this significant part of American history throughout his book. The impression given to us of the White Negro by Mailer can help us look at it as a form of blackface that has found its was in American society. Although artists like Al Bernard and Bert Williams were performers of physical blackface on stage in the 20th century, the hipster has shown to become a form of non-physical blackface. A type of blackface that isn’t ridiculed or criticized by society, but accepted or sometimes even ignored as a grand section of American Popular