000			03279cam a2200373 i 4500
020			_a9781613767665
020			_a1613767668
050		4	_aGT3650.5.S6 _bT44 2020eb
100	1		_aThelwell, Chinua,
245	1	0	_aExporting Jim Crow : _bBlackface minstrelsy in South Africa and beyond /
300			_a1 online resource (xii, 283 pages) : _billustrations
500			_aBased on the author's thesis (doctoral)--New York University, 2011.
505	0		_aIntroduction. Burnt Cork Nationalism and the Five Waves of Minstrel Globalization -- Foundations: Blackface Minstrelsy in the United States and Across the British Empire, 1830-1862 -- An Empire of Burnt Cork: Blackface Minstrelsy in Pre-Industrial South Africa, 1862-1872 -- Diamonds, Dandies, and Dispossession: Minstrel Shows During the South African Mineral Revolution, 1872-1889 -- "Slipping the Yoke": McAdoo's Jubilee Singers, McAdoo's Minstrels, and Racial Uplift Politics, 1890-1898 -- Brown-on-Black Masquerade: Cape Town's Coon Carnival -- Afterword. Global Blackface: Toward Transnational Minstrelsy Studies
520			_a"Following the pathways of imperial commerce, blackface minstrel troupes began to cross the globe in the mid-nineteenth century, popularizing American racial ideologies as they traveled from Britain to its colonies in the Pacific, Asia, and Oceania, finally landing in South Africa during the 1860s and 1870s. The first popular culture export of the United States, minstrel shows frequently portrayed black characters as noncitizens who were unfit for democratic participation and contributed to the construction of a global color line. Chinua Thelwell brings blackface minstrelsy and performance culture into the discussion of apartheid's nineteenth-century origins and afterlife, employing a broad archive of South African newspapers and magazines, memoirs, minstrel songs and sketches, diaries, and interview transcripts. Exporting Jim Crow highlights blackface minstrelsy's cultural and social impact as it became a dominant form of entertainment, moving from its initial appearances on music hall stages to its troubling twentieth-century resurgence on movie screens and at public events. This carefully researched and highly original study demonstrates that the performance of race in South Africa was inherently political, contributing to racism and shoring up white racial identity"--
650		0	_aMinstrel shows
650		0	_aBlackface entertainers
650		0	_aWhite people
650		0	_aBlack people
650		6	_aSpectacles de m�enestrels (Th�e�atre am�ericain)
650		6	_aBlackface (Artistes du spectacle)
650		6	_aPersonnes noires
650		7	_aSOCIAL SCIENCE
650		7	_aBlackface entertainers
650		7	_aBlack people
650		7	_aManners and customs
650		7	_aMinstrel shows
650		7	_aRace relations
650		7	_aWhite people
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2526936 _ydownload ebook
856	4	0	_uhttps://www.jstor.org/stable/10.2307/j.ctv160btb3 _ydownload ebook
856	4	0	_uhttps://muse.jhu.edu/book/77081 _ydownload ebook
856	4	0	_uhttps://public.ebookcentral.proquest.com/choice/publicfullrecord.aspx?p=6387300 _ydownload ebook
942			_cBK
999			_c3986 _d3986