Imagine that you are conducting a MapQuest search for directions. You are starting point is early Minstrelsy in the 1830&1840 (Daddy Rice, The Ethiopean Seranaders, Dan Emmett, the Virginia Seranaders, etc) your destination is Elvis, Bob Dylan, Eminem, and Emy Whinehouse. What is your musical route?

Minstrelsy is an American form of entertainment that originated in the mid 19th century, primarily known as

a comic depiction of Black racial stereotypes performed by White people. Minstrel acts, which included comic skits

and musical performances adopted many genres and influenced others. Although, Minstrelsy itself is considered

offensive and it’s associated with the repression of Black people (Nowatzki). Its influences on today’s pop-culture

are striking.

During 19th century when reshaping America first came blues. The plantation separated White and Black

cultures(Corey). The origins of Minstrelsy are diverse. They are rooted the institution of Black slavery, primarily in

the South. The idea of Minstrel show was that Blacks were abandoned in the South (Csorey). Minstrelsy also was

inspired by traveling circus, plantation songs, nomadic theatre, and even Irish dance. The fundamental feature of

Minstrel shows was a White person masquerading as a Black person. This phenomenon reflected a White

fascination of Black culture but also of White sense of superiority over Blacks.

In the mid 19th century acts, such as the Ethiopean Seranaders and Dan Emmet immense popularity (Brown

and Day, P. 77). The popularity of Minstrel shows was also fascinated by the mass publishing of sheet music. It’s

also should be noted that Minstrel shows were space for women beginning with Madame Reutz’s “Female

Minstrel”. This show was so successful that 11 female companies were founded by the end of 1871. The genre is

most remembered by immensely popular Thomas Darthmouth “Daddy Rice” who is also known as a father of

American minstrelsy. Painted in Black face and dressed in torn clothes Daddy Rice performed in the 1920s a

character “Jim Crow".

By 1890s, minstrelsy witnessed a decline in its popularity and constituted only a minor part of American

theatre whereas after the World War I (around 1919) only three companies ruled the scene. The primary reason of

this decline was the ethical deterioration and decline in family morals caused by these shows that humiliated

women's rights, depicted impolite children, short clerical attendance, and carnal promiscuity. Hence, majority of the

white performers shifted to other forms of entertainment such as vaudeville (Coffey, P.500).

Regardless of the moral deterioration caused by this art form and the amount of criticism it received, the

style in structure of Minstrel show inspired variety shows and musical comedies. Furthermore, Minstrel shows were

an important vassal for the popularization jazz and blues (Adelt, P.571). White performers in black faces made a big

profit from the Minstrel shows and later have created a big entertainment industry. Entertainment industry shaped

American society. Minstrelsy known to be the core influence on the 20th century Rock n Roll, Rap, and Hip-Pop

(Shaftel, P.30).

Another aspect of current popular music, which could be tribute to Minstrelsy is the popularity of White

artists performing Black music. Such artists like Elvis, Beasty Boys, Eminem, and Emmy Whinehouse did not mock

Black people and ridiculed Black culture (Bluestein and Nathan, P.69). However, we should take notice that their

popularity originates from a fascination of seeing White artists adopting Black culture. This might be the same

fascination, which popularized Minstrel shows.

References:

Nowatzki, Robert. Representing African Americans In Transatlantic Abolitionism And Blackface Minstrelsy. Baton

Rouge: Louisiana State University Press, 2010. Print.

Brown, T. Allston and Charles Day. "Black Musicians And Early Ethiopian Minstrelsy". The Black Perspective in

Music 3.1 (1975): 77. Web.

Coffey, H. "Minstrelsy In Medieval France". Early Music 41.3 (2013): 498-500. Web.

Shaftel, Matthew. "Singing A New Song: Stephen Foster And The New American Minstrelsy". Music and Politics

I.2 (2007): n. pag. Web.

Adelt, Ulrich. "Blackface Minstrelsy In Britain". Popular Music and Society 32.4 (2009): 569-571. Web.

Bluestein, Gene and Hans Nathan. "Dan Emmett And The Rise Of Early Negro Minstrelsy". Ethnomusicology 9.1

(1965): 69. Web.

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