The minstrel show, also called minstrelsy, was an American form of

racist Racism is the belief that groups of humans possess different behavioral traits corresponding to inherited attributes and can be divided based on the superiority of one race over another. It may also mean prejudice, discrimination, or antagonis ...

theatrical entertainment developed in the early 19th century. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of

African descent Black is a racialized classification of people, usually a political and skin color-based category for specific populations with a mid to dark brown complexion. Not all people considered "black" have dark skin; in certain countries, often in ...

. The shows were performed by mostly white people wearing

blackface Blackface is a form of theatrical makeup used predominantly by non-Black people, Black people to portray a caricature of a Black person. In the United States, the practice became common during the 19th century and contributed to the spread of ...

make-up for the purpose of playing the role of

black people Black is a racialized classification of people, usually a political and skin color-based category for specific populations with a mid to dark brown complexion. Not all people considered "black" have dark skin; in certain countries, often ...

. There were also some African-American performers and black-only minstrel groups that formed and toured. Minstrel shows

caricatured A caricature is a rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or other artistic drawings (compare to: cartoon). Caricatures can be either insulting or complimentary, a ...

black people as dim-witted, lazy, buffoonish, superstitious, and happy-go-lucky.The Coon Character
, Jim Crow Museum of Racist Memorabilia, Ferris State University. Retrieved 29 January 2016.John Kenrick

, musicals101.com. 1996, revised 2003. Retrieved 9 November 2011. Blackface minstrelsy was the first uniquely American form of theater. Minstrel shows emerged as brief

burlesque A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.

s and comic

entr'acte (or ', ;Since 1932–35 the French Academy recommends this spelling, with no apostrophe, so historical, ceremonial and traditional uses (such as the 1924 René Clair film title) are still spelled ''Entr'acte''. German: ' and ', Italian: ''inte ...

s in the early 1830s in the

Northeastern states The Northeastern United States, also referred to as the Northeast, the East Coast, or the American Northeast, is a geographic region of the United States. It is located on the Atlantic coast of North America, with Canada to its north, the Southe ...

. They were developed into full-fledged form in the next decade. By 1848, blackface minstrel shows were the national artform, translating formal art such as

opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a libre ...

into popular terms for a general audience. By the turn of the 20th century, the minstrel show enjoyed but a shadow of its former popularity, having been replaced for the most part by

vaudeville Vaudeville (; ) is a theatrical genre of variety entertainment born in France at the end of the 19th century. A vaudeville was originally a comedy without psychological or moral intentions, based on a comical situation: a dramatic compositio ...

. The form survived as professional entertainment until about 1910; amateur performances continued until the 1960s in high schools and local theaters. The genre has had a lasting legacy and influence and was featured in a television series as recently as the mid-1970s. Generally, as the

civil rights movement The civil rights movement was a nonviolent social and political movement and campaign from 1954 to 1968 in the United States to abolish legalized institutional Racial segregation in the United States, racial segregation, Racial discrimination ...

progressed and gained acceptance, minstrelsy lost popularity. The typical minstrel performance followed a three-act structure. The troupe first danced onto stage then exchanged wisecracks and sang songs. The second part featured a variety of entertainments, including the pun-filled

stump speech A political stump speech is a standard speech used by a politician running for office. Typically a candidate who schedules many appearances prepares a short standardized stump speech that is repeated verbatim to each audience, before opening t ...

. The final act consisted of a

slapstick Slapstick is a style of humor involving exaggerated physical activity that exceeds the boundaries of normal physical comedy. Slapstick may involve both intentional violence and violence by mishap, often resulting from inept use of props such ...

musical

plantation A plantation is an agricultural estate, generally centered on a plantation house, meant for farming that specializes in cash crops, usually mainly planted with a single crop, with perhaps ancillary areas for vegetables for eating and so on. Th ...

skit or a

send-up A parody, also known as a spoof, a satire, a send-up, a take-off, a lampoon, a play on (something), or a caricature, is a creative work designed to imitate, comment on, and/or mock its subject by means of satiric or ironic imitation. Often its subj ...

of a popular play. Minstrel songs and sketches featured several stock characters, most popularly the

slave Slavery and enslavement are both the state and the condition of being a slave—someone forbidden to quit one's service for an enslaver, and who is treated by the enslaver as property. Slavery typically involves slaves being made to perf ...

and the

dandy A dandy is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance. A dandy could be a self-made man who strove to imitate an aristocratic lifestyle des ...

. These were further divided into sub-archetypes such as the mammy, her counterpart the old darky, the provocative

mulatto (, ) is a racial classification to refer to people of mixed African and European ancestry. Its use is considered outdated and offensive in several languages, including English and Dutch, whereas in languages such as Spanish and Portuguese ...

wench, and the black soldier. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated.

Spirituals Spirituals (also known as Negro spirituals, African American spirituals, Black spirituals, or spiritual music) is a genre of Christian music that is associated with Black Americans, which merged sub-Saharan African cultural heritage with the ...

(known as ''jubilees'') entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy. During the 1830s and 1840s at the height of its popularity, it was at the epicenter of the American

music industry The music industry consists of the individuals and organizations that earn money by writing songs and musical compositions, creating and selling recorded music and sheet music, presenting concerts, as well as the organizations that aid, trai ...

. For several decades, it provided the means through which American whites viewed black people. On the one hand, it had strong

aspects; on the other, it afforded white Americans more awareness, albeit distorted, of some aspects of black culture in America. Although the minstrel shows were extremely popular, being "consistently packed with families from all walks of life and every ethnic group",Sweet, Frank W. ''A History of the Minstrel Show''
p27
they were also controversial. Integrationists decried them as falsely showing happy slaves while at the same time making fun of them; segregationists thought such shows were "disrespectful" of social norms as they portrayed

runaway slave In the United States, fugitive slaves or runaway slaves were terms used in the 18th and 19th century to describe people who fled slavery. The term also refers to the federal Fugitive Slave Acts of 1793 and 1850. Such people are also called freed ...

s with sympathy and would undermine slavery.

History

Early development

Minstrel shows were popular before slavery was abolished, sufficiently so that

Frederick Douglass Frederick Douglass (born Frederick Augustus Washington Bailey, February 1817 or 1818 – February 20, 1895) was an American social reformer, abolitionist, orator, writer, and statesman. After escaping from slavery in Maryland, he becam ...

described blackface performers as "...the filthy scum of white society, who have stolen from us a complexion denied them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens." Although white theatrical portrayals of black characters date back to as early as 1604, the minstrel show as such has later origins. By the late 18th century,

characters began appearing on the American stage, usually as "

servant A domestic worker or domestic servant is a person who works within the scope of a residence. The term "domestic service" applies to the equivalent occupational category. In traditional English contexts, such a person was said to be "in service ...

" types whose roles did little more than provide some element of

comic relief Comic relief is the inclusion of a humorous character, scene, or witty dialogue in an otherwise serious work, often to relieve tension. Definition Comic relief usually means a releasing of emotional or other tension resulting from a comic epis ...

. Eventually, similar performers appeared in

s in

New York New York most commonly refers to: * New York City, the most populous city in the United States, located in the state of New York * New York (state), a state in the northeastern United States New York may also refer to: Film and television * '' ...

theaters and other venues such as taverns and circuses. As a result, the blackface "

Sambo , aka = Sombo (in English-speaking countries) , focus = Hybrid , country = Soviet Union , pioneers = Viktor Spiridonov, Vasili Oshchepkov, Anatoly Kharlampiev , famous_pract = List of Practitioners , olym ...

" character came to supplant the " tall-tale-telling

Yankee The term ''Yankee'' and its contracted form ''Yank'' have several interrelated meanings, all referring to people from the United States. Its various senses depend on the context, and may refer to New Englanders, residents of the Northern United St ...

" and "

frontier A frontier is the political and geographical area near or beyond a boundary. A frontier can also be referred to as a "front". The term came from French in the 15th century, with the meaning "borderland"—the region of a country that fronts ...

sman" character-types in popularity, and white actors such as

Charles Mathews Charles Mathews (28 June 1776, London – 28 June 1835, Devonport) was an English theatre manager and comic actor, well known during his time for his gift of impersonation and skill at table entertainment. His play ''At Home'', in which he pla ...

George Washington Dixon George Washington Dixon (1801?Many biographies list his birth year as 1808, but Cockrell, ''Demons of Disorder'', 189, argues that 1801 is the correct date. This is based on Dixon's records at a New Orleans hospital, which list him as 60 years ol ...

, and

Edwin Forrest Edwin Forrest (March 9, 1806December 12, 1872) was a prominent nineteenth-century American Shakespearean actor. His feud with the British actor William Macready was the cause of the deadly Astor Place Riot of 1849. Early life Forrest was born ...

began to build reputations as blackface performers. Author

Constance Rourke Constance Mayfield Rourke (November 14, 1885 – March 29, 1941) was an American author and educator. She was born in Cleveland, Ohio, and attended Sorbonne and Vassar College. She taught at Vassar from 1910 to 1915. She died in Grand Rapids ...

even claimed that Forrest's impression was so good he could fool blacks when he mingled with them in the streets. Thomas Dartmouth Rice's successful song-and-dance number, "

Jump Jim Crow "Jump Jim Crow" or "Jim Crow" is a song and dance from 1828 that was done in blackface by white minstrel performer Thomas Dartmouth (T. D.) "Daddy" Rice. The song is speculated to have been taken from Jim Crow (sometimes called Jim Cuff or Uncl ...

", brought blackface performance to a new level of prominence in the early 1830s. At the height of Rice's success, ''The

Boston Post ''The Boston Post'' was a daily newspaper in New England for over a hundred years before it folded in 1956. The ''Post'' was founded in November 1831 by two prominent Boston businessmen, Charles G. Greene and William Beals. Edwin Grozier bought ...

'' wrote, "The two most popular characters in the world at the present are ueen

Victoria Victoria most commonly refers to: * Victoria (Australia), a state of the Commonwealth of Australia * Victoria, British Columbia, provincial capital of British Columbia, Canada * Victoria (mythology), Roman goddess of Victory * Victoria, Seychelle ...

and

Jim Crow The Jim Crow laws were state and local laws enforcing racial segregation in the Southern United States. Other areas of the United States were affected by formal and informal policies of segregation as well, but many states outside the Sout ...

." As early as the 1820s, blackface performers called themselves "

Ethiopia Ethiopia, , om, Itiyoophiyaa, so, Itoobiya, ti, ኢትዮጵያ, Ítiyop'iya, aa, Itiyoppiya officially the Federal Democratic Republic of Ethiopia, is a landlocked country in the Horn of Africa. It shares borders with Eritrea to the Er ...

n delineators"; from then into the early 1840s, unlike the later heyday of minstrelsy, they performed either solo or in small teams. Blackface soon found a home in the taverns of New York's less respectable precincts of Lower

Broadway Broadway may refer to: Theatre * Broadway Theatre (disambiguation) * Broadway theatre, theatrical productions in professional theatres near Broadway, Manhattan, New York City, U.S. ** Broadway (Manhattan), the street **Broadway Theatre (53rd Stree ...

, the

Bowery The Bowery () is a street and neighborhood in Lower Manhattan in New York City. The street runs from Chatham Square at Park Row, Worth Street, and Mott Street in the south to Cooper Square at 4th Street in the north.Jackson, Kenneth L. ...

, and

Chatham Street Park Row is a street located in the Financial District, Civic Center, and Chinatown neighborhoods of the New York City borough of Manhattan. The street runs east-west, sometimes called north-south because the western end is nearer to the Fin ...

.. It also appeared on more respectable stages, most often as an ''entr'acte''. Upper-class houses at first limited the number of such acts they would show, but beginning in 1841, blackface performers frequently took to the stage at even the classy Park Theatre, much to the dismay of some patrons. Theater was a participatory activity, and the lower classes came to dominate the playhouse. They threw things at actors or orchestras who performed unpopular material, and rowdy audiences eventually prevented the

Bowery Theatre The Bowery Theatre was a playhouse on the Bowery in the Lower East Side of Manhattan, New York City. Although it was founded by rich families to compete with the upscale Park Theatre, the Bowery saw its most successful period under the populis ...

from staging high drama at all. Typical blackface acts of the period were short

burlesque A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.

s, often with mock Shakespearean titles like " Hamlet the Dainty", " Bad Breath, the Crane of Chowder", " Julius Sneezer" or " Dars-de-Money". Meanwhile, at least some whites were interested in black song and dance by actual black performers. Nineteenth-century New York slaves shingle danced for spare change on their days off, and musicians played what they claimed to be "

Negro In the English language, ''negro'' is a term historically used to denote persons considered to be of Black African heritage. The word ''negro'' means the color black in both Spanish and in Portuguese, where English took it from. The term can be ...

music" on so-called black instruments like the

banjo The banjo is a stringed instrument with a thin membrane stretched over a frame or cavity to form a resonator. The membrane is typically circular, and usually made of plastic, or occasionally animal skin. Early forms of the instrument were fashi ...

. The ''

New Orleans Picayune ''The Times-Picayune/The New Orleans Advocate'' is an American newspaper published in New Orleans, Louisiana, since January 25, 1837. The current publication is the result of the 2019 acquisition of ''The Times-Picayune'' (itself a result of th ...

'' wrote that a singing

New Orleans New Orleans ( , ,New Orleans

Old Corn Meal would bring "a fortune to any man who would start on a professional tour with him". Rice responded by adding a "Corn Meal" skit to his act. Meanwhile, there had been several attempts at legitimate black stage performance, the most ambitious probably being New York's

African Grove The African Grove Theatre opened in New York City in 1821. It was founded and operated by William Alexander Brown,Hatch, James V., and Ted Shine. ''Black Theatre USA: Plays by African Americans: The Early Period, 1847––1938''. New York: Free ...

theater, founded and operated by free blacks in 1821, with a repertoire drawing heavily on Shakespeare. A rival theater company paid people to "riot" and cause disturbances at the theater, and it was shut down by the police when neighbors complained of the commotion. White, working-class Northerners could identify with the characters portrayed in early blackface performances. This coincided with the rise of groups struggling for workingman's nativism and pro-Southern causes, and faux black performances came to confirm pre-existing racist concepts and to establish new ones. Following a pattern that had been pioneered by Rice, minstrelsy united workers and "class superiors" against a common black enemy, symbolized especially by the character of the black dandy. In this same period, the class-conscious but racially inclusive rhetoric of "

wage slavery Wage slavery or slave wages refers to a person's dependence on wages (or a salary) for their livelihood, especially when wages are low, treatment and conditions are poor, and there are few chances of upward mobility. The term is often used ...

" was largely supplanted by a racist one of "white slavery". This suggested that the abuses against northern factory workers were a graver ill than the treatment of black slaves—or by a less class-conscious rhetoric of "productive" versus "unproductive" elements of society. On the other hand, views on slavery were fairly evenly presented in minstrelsy, and some songs even suggested the creation of a coalition of working blacks and whites to end the institution. Among the appeals and racial

stereotype In social psychology, a stereotype is a generalized belief about a particular category of people. It is an expectation that people might have about every person of a particular group. The type of expectation can vary; it can be, for exampl ...

s of early blackface performance were the pleasure of the

grotesque Since at least the 18th century (in French and German as well as English), grotesque has come to be used as a general adjective for the strange, mysterious, magnificent, fantastic, hideous, ugly, incongruous, unpleasant, or disgusting, and thus ...

and its infantilization of blacks. These allowed—by proxy, and without full identification—childish fun and other low pleasures in an industrializing world where workers were increasingly expected to abandon such things. Meanwhile, the more respectable could view the vulgar audience itself as a spectacle.

Height

With the

Panic of 1837 The Panic of 1837 was a financial crisis in the United States that touched off a major depression, which lasted until the mid-1840s. Profits, prices, and wages went down, westward expansion was stalled, unemployment went up, and pessimism abound ...

, theater attendance suffered, and concerts were one of the few attractions that could still make money. In 1843, four blackface performers led by

Dan Emmett Daniel Decatur Emmett (October 29, 1815June 28, 1904) was an American songwriter, entertainer, and founder of the first troupe of the blackface minstrel tradition, the Virginia Minstrels. He is most remembered as the composer of the song " Dixi ...

combined to stage just such a concert at the New York

Bowery Amphitheatre The Bowery Amphitheatre was a building in the Bowery neighborhood of New York City. It was located at 37 and 39 Bowery, across the street from the Bowery Theatre. Under a number of different names and managers, the structure served as a circus, me ...

, calling themselves the

Virginia Minstrels The Virginia Minstrels or Virginia Serenaders was a group of 19th-century American entertainers who helped invent the entertainment form known as the minstrel show. Led by Dan Emmett, the original lineup consisted of Emmett, Billy Whitlock, ...

. The minstrel show as a complete evening's entertainment was born. The show had little structure. The four sat in a semicircle, played songs, and traded wisecracks. One gave a

in dialect, and they ended with a lively

song. The term ''

minstrel A minstrel was an entertainer, initially in medieval Europe. It originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer w ...

'' had previously been reserved for traveling white singing groups, but Emmett and company made it synonymous with blackface performance, and by using it, signalled that they were reaching out to a new, middle-class audience. The ''Herald'' wrote that the production was "entirely exempt from the vulgarities and other objectionable features, which have hitherto characterized negro

extravaganza An extravaganza is a literary or musical work (often musical theatre) usually containing elements of burlesque, pantomime, music hall and parody in a spectacular production and characterized by freedom of style and structure. It sometimes als ...

s." In 1845, the

Ethiopian Serenaders The Ethiopian Serenaders was an American blackface minstrel troupe successful in the 1840s and 1850s. Through various line-ups they were managed and directed by James A. Dumbolton (1808–?), and are sometimes mentioned as the Boston Minstrel ...

purged their show of low humor and surpassed the Virginia Minstrels in popularity. Shortly thereafter,

Edwin Pearce Christy Edwin Pearce Christy (November 28, 1815 – May 21, 1862) was an American composer, singer, actor and stage producer. He is more commonly known as E. P. Christy, and was the founder of the blackface minstrel group Christy's Minstrels. Biography H ...

founded

Christy's Minstrels Christy's Minstrels, sometimes referred to as the Christy Minstrels, were a blackface group formed by Edwin Pearce Christy, a well-known ballad singer, in 1843, in Buffalo, New York. They were instrumental in the solidification of the minstrel sh ...

, combining the refined singing of the Ethiopian Serenaders (epitomized by the work of Christy's composer

Stephen Foster Stephen Collins Foster (July 4, 1826January 13, 1864), known also as "the father of American music", was an American composer known primarily for his parlour and minstrel music during the Romantic period. He wrote more than 200 songs, inclu ...

) with the Virginia Minstrels' bawdy schtick. Christy's company established the three-act template into which minstrel shows would fall for the next few decades. This change to respectability prompted theater owners to enforce new rules to make playhouses calmer and quieter. Minstrels toured the same circuits as opera companies, circuses, and European itinerant entertainers, with venues ranging from lavish opera houses to makeshift tavern stages. Life on the road entailed an "endless series of one-nighters, travel on accident-prone railroads, in poor housing subject to fires, in empty rooms that they had to convert into theaters, arrest on trumped up charges, exposed to deadly diseases, and managers and agents who skipped out with all the troupe's money." The more popular groups stuck to the main circuit that ran through the Northeast; some even went to Europe, which allowed their competitors to establish themselves in their absence. By the late 1840s, a Southern tour had opened from Baltimore to New Orleans. Circuits through the Midwest and as far as California followed by the 1860s. As its popularity increased, theaters sprang up specifically for minstrel performance, often with names such as the Ethiopian Opera House and the like. Many amateur troupes performed only a few local shows before disbanding. Meanwhile, celebrities like Emmett continued to perform solo. The rise of the minstrel show coincided with the growth of the

abolitionist Abolitionism, or the abolitionist movement, is the movement to end slavery. In Western Europe and the Americas, abolitionism was a historic movement that sought to end the Atlantic slave trade and liberate the enslaved people. The British ...

movement. Many Northerners were concerned for the oppressed blacks of the South, but most had no idea how these slaves lived day-to-day. Blackface performance had been inconsistent on this subject; some slaves were happy, others victims of a cruel and inhuman institution. However, in the 1850s, minstrelsy became decidedly mean-spirited and pro-slavery as race replaced class as its main focus. Most minstrels projected a greatly romanticized and exaggerated image of black life with cheerful, simple slaves always ready to sing and dance and to please their masters. (Less frequently, the masters cruelly split up black lovers or sexually assaulted black women.). The lyrics and dialogue were generally racist, satiric, and largely white in origin. Songs about slaves yearning to return to their masters were plentiful. The message was clear: do not worry about the slaves; they are happy with their lot in life.. Figures like the Northern dandy and the homesick ex-slave reinforced the idea that blacks did not belong, nor did they want to belong, in Northern society. Minstrelsy's reaction to ''

Uncle Tom's Cabin ''Uncle Tom's Cabin; or, Life Among the Lowly'' is an anti-slavery novel by American author Harriet Beecher Stowe. Published in two volumes in 1852, the novel had a profound effect on attitudes toward African Americans and slavery in the U ...

'' is indicative of

content at the time. ''Tom acts'' largely came to replace other plantation narratives, particularly in the third act. These sketches sometimes supported Stowe's novel, but just as often they turned it on its head or attacked the author. Whatever the intended message, it was usually lost in the joyous, slapstick atmosphere of the piece. Characters such as Simon Legree sometimes disappeared, and the title was frequently changed to something more cheerful like "Happy Uncle Tom" or "Uncle Dad's Cabin".

Uncle Tom Uncle Tom is the title character of Harriet Beecher Stowe's 1852 novel, ''Uncle Tom's Cabin''. The character was seen by many readers as a ground-breaking humanistic portrayal of a slave, one who uses nonresistance and gives his life to protec ...

himself was frequently portrayed as a harmless bootlicker to be ridiculed. Troupes known as ''Tommer'' companies specialized in such burlesques, and theatrical ''

Tom show Tom show is a general term for any play or musical based (often only loosely) on the 1852 novel '' Uncle Tom's Cabin'' by Harriet Beecher Stowe. The novel attempts to depict the harsh reality of slavery. Due to the weak copyright laws at the ti ...

s'' integrated elements of the minstrel show and competed with it for a time. Minstrelsy's

racism Racism is the belief that groups of humans possess different behavioral traits corresponding to inherited attributes and can be divided based on the superiority of one race over another. It may also mean prejudice, discrimination, or antagonism ...

(and

sexism Sexism is prejudice or discrimination based on one's sex or gender. Sexism can affect anyone, but it primarily affects women and girls.There is a clear and broad consensus among academic scholars in multiple fields that sexism refers prima ...

) could be rather vicious. There were comic songs in which blacks were "roasted, fished for, smoked like tobacco, peeled like potatoes, planted in the soil, or dried up and hung as advertisements", and there were multiple songs in which a black man accidentally put out a black woman's eyes. On the other hand, the fact that the minstrel show broached the subjects of slavery and race at all is perhaps more significant than the racist manner in which it did so. Despite these pro-plantation attitudes, minstrelsy was banned in many Southern cities. Its association with the North was such that as secessionist attitudes grew stronger, minstrels on Southern tours became convenient targets of anti-Yankee sentiment. Non-race-related humor came from lampoons of other subjects, including aristocratic whites such as politicians, doctors, and lawyers.

Women's rights Women's rights are the rights and entitlements claimed for women and girls worldwide. They formed the basis for the women's rights movement in the 19th century and the feminist movements during the 20th and 21st centuries. In some countr ...

was another serious subject that appeared with some regularity in antebellum minstrelsy, almost always to ridicule the notion. The women's rights lecture became common in stump speeches. When one character joked, "Jim, I tink de ladies oughter vote", another replied, "No, Mr. Johnson, ladies am supposed to care berry little about polytick, and yet de majority ob em am strongly tached to parties." Minstrel humor was simple and relied heavily on

and

wordplay Word play or wordplay (also: play-on-words) is a literary technique and a form of wit in which words used become the main subject of the work, primarily for the purpose of intended effect or amusement. Examples of word play include puns, pho ...

. Performers told nonsense riddles: "The difference between a schoolmaster and an engineer is that one trains the mind and the other minds the train.". With the advent of the

American Civil War The American Civil War (April 12, 1861 – May 26, 1865; also known by other names) was a civil war in the United States. It was fought between the Union ("the North") and the Confederacy ("the South"), the latter formed by state ...

, minstrels remained mostly neutral and satirized both sides. However, as the war reached Northern soil, troupes turned their loyalties to the Union. Sad songs and sketches came to dominate in reflection of the mood of a bereaved nation. Troupes performed skits about dying soldiers and their weeping widows, and about mourning white mothers. "

When This Cruel War Is Over "When This Cruel War Is Over", also known under the title "Weeping, Sad and Lonely", is a song written by Charles Carroll Sawyer with music by Henry Tucker. Published in 1863, it was a popular war song during the American Civil War, sung by bo ...

" became the hit of the period, selling over a million copies of sheet music. To balance the somber mood, minstrels put on patriotic numbers like "

The Star-Spangled Banner "The Star-Spangled Banner" is the national anthem of the United States. The lyrics come from the "Defence of Fort M'Henry", a poem written on September 14, 1814, by 35-year-old lawyer and amateur poet Francis Scott Key after witnessing the bo ...

", accompanied by depictions of scenes from American history that lionized figures like George Washington and Andrew Jackson. Social commentary grew increasingly important to the show. Performers criticized Northern society and those they felt responsible for the breakup of the country, who opposed reunification, or who profited from a nation at war. Emancipation was either opposed through "happy plantation" material, or mildly supported with pieces that depicted slavery in a negative light. Eventually, direct criticism of the South became more biting.

Decline

Minstrelsy lost popularity during the Civil War. New entertainments such as

variety show Variety show, also known as variety arts or variety entertainment, is entertainment made up of a variety of acts including musical performances, sketch comedy, magic, acrobatics, juggling, and ventriloquism. It is normally introduced by a com ...

musical comedies Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through words, music, movement ...

and

appeared in the North, backed by master promoters like

P. T. Barnum Phineas Taylor Barnum (; July 5, 1810 – April 7, 1891) was an American showman, businessman, and politician, remembered for promoting celebrated hoaxes and founding the Barnum & Bailey Circus (1871–2017) with James Anthony Bailey. He wa ...

who wooed audiences away. Blackface troupes responded by traveling farther and farther afield, with their primary base now in the South and Midwest. Those minstrels who stayed in New York and similar cities followed Barnum's lead by advertising relentlessly and emphasizing the spectacle of minstrelsy. Troupes ballooned; as many as 19 performers could be on stage at once, and

J. H. Haverly Christopher Haverly (1837–1901), better known as J. H. Haverly or John H. "Jack" Haverly, was an American theatre manager and promoter of blackface minstrel shows. During the 1870s and 1880s, he created an entertainment empire centered on his m ...

's United Mastodon Minstrels had over 100 members. Scenery grew lavish and expensive, and specialty acts like Japanese acrobats or circus freaks sometimes appeared. These changes made minstrelsy unprofitable for smaller troupes. Other minstrel troupes tried to satisfy outlying tastes. Female acts had made a stir in variety shows, and

Madame Rentz's Female Minstrels Madame Rentz's Female Minstrels was a blackface minstrel troupe composed completely of women. M. B. Leavitt founded the company in 1870. Unlike mainstream minstrelsy at the time, Leavitt's cast was entirely made up of women, whose primary role was ...

ran with the idea, first performing in 1870 in skimpy costumes and tights. Their success gave rise to at least 11 all-female troupes by 1871, one of which did away with blackface altogether. Ultimately, the girlie show emerged as a form in its own right. Mainstream minstrelsy continued to emphasize its propriety, but traditional troupes adopted some of these elements in the guise of the

female impersonator A drag queen is a person, usually male, who uses drag clothing and makeup to imitate and often exaggerate female gender signifiers and gender roles for entertainment purposes. Historically, drag queens have usually been gay men, and part ...

. A well-played wench character became critical to success in the postwar period. This new minstrelsy maintained an emphasis on refined music. Most troupes added jubilees, or

spirituals Spirituals (also known as Negro spirituals, African American spirituals, Black spirituals, or spiritual music) is a genre of Christian music that is associated with Black Americans, which merged sub-Saharan African cultural heritage with the ...

, to their repertoire in the 1870s. These were fairly authentic religious slave songs borrowed from traveling black singing groups. Other troupes drifted further from minstrelsy's roots. When George Primrose and

Billy West William Richard Werstine (born April 16, 1952), known professionally as Billy West, is an American voice actor. His voice roles include Bugs Bunny in the 1996 film ''Space Jam'' and several subsequent projects, the title characters of ''Doug'' ...

broke with Haverly's Mastodons in 1877, they did away with blackface for all but the endmen and dressed themselves in lavish finery and powdered wigs. They decorated the stage with elaborate backdrops and performed no slapstick whatsoever. Their brand of minstrelsy differed from other entertainments only in name. Social commentary continued to dominate most performances, with plantation material constituting only a small part of the repertoire. This effect was amplified as minstrelsy featuring black performers took off in its own right and stressed its connection to the old plantations. The main target of criticism was the moral decay of the urbanized North. Cities were painted as corrupt, as homes to unjust poverty, and as dens of "

city slicker {{wiktionarypar, city slicker City slicker is an idiomatic expression for someone accustomed to a city or urban lifestyle and unsuited to life in the country. The term was typically used as a term of derision by rural Americans and Canadians who ...

s" who lay in wait to prey upon new arrivals. Minstrels stressed traditional family life; stories told of reunification between mothers and sons thought dead in the war. Women's rights, disrespectful children, low church attendance, and sexual promiscuity became symptoms of decline in family values and of moral decay. Of course, Northern black characters carried these vices even further.

African-American African Americans (also referred to as Black Americans and Afro-Americans) are an Race and ethnicity in the United States, ethnic group consisting of Americans with partial or total ancestry from sub-Saharan Africa. The term "African American ...

members of Congress were one example, pictured as pawns of the

Radical Republicans The Radical Republicans (later also known as "Stalwarts") were a faction within the Republican Party, originating from the party's founding in 1854, some 6 years before the Civil War, until the Compromise of 1877, which effectively ended Reco ...

. By the 1890s, minstrelsy formed only a small part of American entertainment, and, by 1919, a mere three troupes dominated the scene. Small companies and amateurs carried the traditional minstrel show into the 20th century, now with an audience mostly in the rural South, while black-owned troupes continued traveling to more outlying areas like the West. These black troupes were one of minstrelsy's last bastions, as more white actors moved into vaudeville. (Community amateur blackface minstrel shows persisted in northern New York State into the 1960s. The University of Vermont banned the minstrel-like Kake Walk as part of the winter Carnival in 1969.)

Black minstrels

In the 1840s and '50s,

William Henry Lane Master Juba (ca. 1825 – ca. 1852 or 1853) was an African-American dancer active in the 1840s. He was one of the first black performers in the United States to play onstage for white audiences and the only one of the era to tour with a white min ...

and

Thomas Dilward Thomas Dilward (c. 1817–1887) was an entertainer who appeared in blackface minstrel shows from 1853 until the early 1880s under the name Japanese Tommy. He was also sometimes billed as "The African 'Tom Thumb'" and the "African Dwarf Tommy".

became the first African Americans to perform on the minstrel stage. All-black troupes followed as early as 1855. These companies emphasized that their ethnicity made them the only true delineators of black song and dance, with one advertisement describing a troupe as "SEVEN SLAVES just from Alabama, who are EARNING THEIR FREEDOM by giving concerts under the guidance of their Northern friends." White curiosity proved a powerful motivator, and the shows were patronized by people who wanted to see blacks acting "spontaneously" and "naturally." Promoters seized on this, one billing his troupe as "THE DARKY AS HE IS AT HOME, DARKY LIFE IN THE CORNFIELD,

CANEBRAKE A canebrake or canebreak is a thicket of any of a variety of '' Arundinaria'' grasses: '' A. gigantea'', '' A. tecta'' and '' A. appalachiana''. As a bamboo, these giant grasses grow in thickets up to 24 ft tall. ''A. gigantea'' is generally ...

, BARNYARD, AND ON THE LEVEE AND FLATBOAT." Keeping with convention, black minstrels still corked the faces of at least the endmen. One commentator described a mostly uncorked black troupe as "mulattoes of a medium shade except two, who were light. ... The end men were each rendered thoroughly black by burnt cork." The minstrels themselves promoted their performing abilities, quoting reviews that favorably compared them to popular white troupes. These black companies often featured female minstrels. One or two African-American troupes dominated the scene for much of the late 1860s and 1870s. The first of these was

Brooker and Clayton's Georgia Minstrels Brooker and Clayton's Georgia Minstrels was the first popular African American blackface minstrel show, minstrel troupe. The company was formed in 1865. Under the management of Charles Hicks, the company enjoyed success on tour through the Northeas ...

, who played the Northeast around 1865.

Sam Hague Sam Hague (1828 – 7 January 1901) was a British blackface minstrel dancer and troupe owner. He was a pioneering white owner of a minstrel troupe composed of black members, and the success he saw with this troupe inspired many other white mins ...

's Slave Troupe of Georgia Minstrels formed shortly thereafter and toured England to great success beginning in 1866. In the 1870s, white entrepreneurs bought most of the successful black companies.

Charles Callender Charles Callender was the owner of blackface minstrel troupes that featured African American performers. Although a tavern owner by trade, he entered show business in 1872 when he purchased Sam Hague's Slave Troupe of Georgia Minstrels. Renaming ...

obtained Sam Hague's troupe in 1872 and renamed it Callender's Georgia Minstrels. They became the most popular black troupe in America, and the words ''Callender'' and ''Georgia'' came to be synonymous with the institution of black minstrelsy. J. H. Haverly, in turn, purchased Callender's troupe in 1878 and applied his strategy of enlarging troupe size and embellishing sets. When this company went to Europe,

Gustave Gustav, Gustaf or Gustave may refer to: *Gustav (name), a male given name of Old Swedish origin Art, entertainment, and media * ''Primeval'' (film), a 2007 American horror film * ''Gustav'' (film series), a Hungarian series of animated short cart ...

and

Charles Frohman Charles Frohman (July 15, 1856 – May 7, 1915) was an American theater manager and producer, who discovered and promoted many stars of the American stage. Notably, he produced ''Peter Pan'', both in London and the US, the latter production ...

took the opportunity to promote their Callender's Consolidated Colored Minstrels. Their success was such that the Frohmans bought Haverly's group and merged it with theirs, creating a virtual monopoly on the market. The company split in three to better canvas the nation and dominated black minstrelsy throughout the 1880s. Individual black performers like

Billy Kersands Billy Kersands (c. 1842 in Baton Rouge, Louisianaa – 30 June 1915 in Artesia, New Mexico) was an African-American comedian and dancer. He was the most popular black comedian of his day, best known for his work in blackface minstrelsy. In addi ...

James A. Bland James Alan Bland (October 22, 1854 – May 5, 1911), also known as Jimmy Bland, was an American musician, song writer, and minstrel performer. He is best known for the song "Carry Me Back to Old Virginny" which was the official State Song of ...

Sam Lucas Sam Lucas (August 7, 1840 – January 10, 1916) was an American actor, comedian, singer, and songwriter. Sam Lucas's exact date of birth is disputed. Lucas's year of birth, to freed former slaves, has also been cited as 1839, 1841, 1848 and 1850 ...

, Martin Francis and

Wallace King Wallace King was an African American blackface minstrel performer from the 19th century. He played with Callender's Georgia Minstrels, and in 1882 was second to only Billy Kersands in pay and popularity. King was a "Sweet Singing Tenor" and known ...

grew as famous as any featured white performer. Racism made black minstrelsy a difficult profession. When playing Southern towns, performers had to stay in character off stage, dressed in ragged "slave clothes" and perpetually smiling. Troupes left town quickly after each performance, and some had so much trouble securing lodging that they hired whole trains or had custom sleeping cars built, complete with hidden compartments to hide in should things turn ugly. Even these were no haven, as whites sometimes used the cars for target practice. Their salaries, though higher than those of most blacks of the period, failed to reach levels earned by white performers; even superstars like Kersands earned slightly less than featured white minstrels. Most black troupes did not last long. In content, early black minstrelsy differed little from its white counterpart. As the white troupes drifted from plantation subjects in the mid-1870s however, black troupes placed a new emphasis on it. The addition of jubilee singing gave black minstrelsy a popularity boost as the black troupes were rightly believed to be the most authentic performers of such material. Other significant differences were that the black minstrels added religious themes to their shows while whites shied from them, and that the black companies commonly ended the first act of the show with a military high-stepping, brass band burlesque, a practice adopted after Callender's Minstrels used it in 1875 or 1876. Although black minstrelsy lent credence to racist ideals of blackness, many African-American minstrels worked to subtly alter these stereotypes and to poke fun at white society. One jubilee described heaven as a place "where de white folks must let the darkeys be" and they could not be "bought and sold". In plantation material, aged black characters were rarely reunited with long-lost masters like they were in white minstrelsy. African Americans formed a large part of the black minstrels' audience, especially for smaller troupes. In fact, their numbers were so great that many theater owners had to relax rules relegating black patrons to certain areas. The reasons for the popularity of this openly racist form of entertainment with black audiences have long been debated by historians. Perhaps they felt in on the joke, laughing at the over-the-top characters from a sense of "in-group recognition". Maybe they even implicitly endorsed the racist antics, or they felt some connection to elements of an African culture that had been suppressed but was visible, albeit in racist, exaggerated form, in minstrel personages.. They certainly got many jokes that flew over whites' heads or registered as only quaint distractions. An undeniable draw for black audiences was simply seeing fellow African Americans on stage; black minstrels were largely viewed as celebrities. Formally educated African Americans, on the other hand, either disregarded black minstrelsy or openly disdained it. Still, black minstrelsy was the first large-scale opportunity for African Americans to enter American show business. Black minstrels were therefore viewed as a success.

Pat H. Chappelle Patrick Henry Chappelle (January 7, 1869 – October 21, 1911),Lynn Abbott, Doug Seroff''Ragged But Right: Black Traveling Shows, Coon Songs, and the Dark Pathway to Blues and Jazz'' University Press of Mississippi, 2009, pp. 248-268.

capitalized on this and created the first totally black-owned black vaudeville show,

The Rabbit's Foot Company The Rabbit's Foot Company, also known as the Rabbit('s) Foot Minstrels and colloquially as "The Foots", was a long-running minstrel and variety troupe that toured as a tent show in the American South between 1900 and the late 1950s. It was establi ...

, which performed with an all-black cast that elevated the level of shows with sophisticated and fun comedy. It successfully toured mainly the Southwest and Southeast, as well as in New Jersey and New York City.

Structure

The

Christy Minstrels Christy's Minstrels, sometimes referred to as the Christy Minstrels, were a blackface group formed by Edwin Pearce Christy, a well-known ballad singer, in 1843, in Buffalo, New York. They were instrumental in the solidification of the minstrel s ...

established the basic structure of the minstrel show in the 1840s. A crowd-gathering parade to the theater often preceded the performance. The show itself was divided into three major sections. During the first, the entire troupe danced onto stage singing a popular song.. Upon the instruction of the ''interlocutor'', a sort of host, they sat in a semicircle. Various stock characters always took the same positions: the genteel interlocutor in the middle, flanked by ''Mr Tambo'' and ''Mr Bones'', who served as the ''endmen'' or ''cornermen''. The interlocutor acted as a master of ceremonies and as a dignified, if pompous, straight man. He had a somewhat aristocratic demeanor, a "codfish aristocrat", while the endmen exchanged jokes and performed a variety of humorous songs.. Over time, the first act came to include maudlin numbers not always in dialect. One minstrel, usually a

tenor A tenor is a type of classical male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors i ...

, came to specialize in this part; such singers often became celebrities, especially with women. Initially, an upbeat plantation song and dance ended the act; later it was more common for the first act to end with a ''

walkaround A walkaround (also spelled walk-around or walk around, or called a horay) was a dance from the blackface minstrel shows of the 19th century. The walkaround began in the 1840s as a dance for one performer, but by the 1850s, many dancers or the e ...

'', including dances in the style of a

cakewalk The cakewalk was a dance developed from the "prize walks" (dance contests with a cake awarded as the prize) held in the mid-19th century, generally at get-togethers on Black slave plantations before and after emancipation in the Southern Unit ...

. The second portion of the show, called the ''olio'', was historically the last to evolve, as its real purpose was to allow for the setting of the stage for act three behind the curtain. It had more of a variety show structure. Performers danced, played instruments, did acrobatics, and demonstrated other amusing talents. Troupes offered parodies of European-style entertainments, and European troupes themselves sometimes performed. The highlight was when one actor, typically one of the endmen, delivered a faux-black-dialect ''stump speech'', a long oration about anything from nonsense to science, society, or politics, during which the dim-witted character tried to speak eloquently, only to deliver countless malapropisms, jokes, and unintentional puns. All the while, the speaker moved about like a clown, standing on his head and almost always falling off his stump at some point. With blackface makeup serving as fool's mask, these stump speakers could deliver biting social criticism without offending the audience, although the focus was usually on sending up unpopular issues and making fun of blacks' inability to make sense of them.. Many troupes employed a stump specialist with a trademark style and material. The ''

afterpiece An afterpiece is a short, usually humorous one-act playlet or musical work following the main attraction, the full-length play, and concluding the theatrical evening.p24 "The Chambers Dictionary"Edinburgh, Chambers,2003 This short comedy, farce, o ...

'' rounded out the production. In the early days of the minstrel show, this was often a skit set on a Southern

that usually included song-and-dance numbers and featured Sambo- and Mammy-type characters in slapstick situations. The emphasis lay on an idealized plantation life and the happy slaves who lived there. Nevertheless, antislavery viewpoints sometimes surfaced in the guise of family members separated by slavery, runaways, or even slave uprisings. A few stories highlighted black

trickster In mythology and the study of folklore and religion, a trickster is a character in a story (god, goddess, spirit, human or anthropomorphisation) who exhibits a great degree of intellect or secret knowledge and uses it to play tricks or otherwise ...

figures who managed to get the better of their masters. Beginning in the mid-1850s, performers did

burlesque A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.

renditions of other plays; both Shakespeare and contemporary playwrights were common targets. The humor of these came from the inept black characters trying to perform some element of high white culture.

Slapstick Slapstick is a style of humor involving exaggerated physical activity that exceeds the boundaries of normal physical comedy. Slapstick may involve both intentional violence and violence by mishap, often resulting from inept use of props such ...

humor pervaded the afterpiece, including cream pies to the face, inflated bladders, and on-stage fireworks. Material from ''Uncle Tom's Cabin'' dominated beginning in 1853. The afterpiece allowed the minstrels to introduce new characters, some of whom became quite popular and spread from troupe to troupe.

Characters

The earliest minstrel characters took as their base popular white stage archetypes—frontiersmen, fishermen, hunters, and riverboatsmen whose depictions drew heavily from the

tall tale A tall tale is a story with unbelievable elements, related as if it were true and factual. Some tall tales are exaggerations of actual events, for example fish stories ("the fish that got away") such as, "That fish was so big, why I tell ya', it n ...

—and added exaggerated blackface speech and makeup. These Jim Crows and

Gumbo Chaff "Gumbo Chaff", also spelled "Gombo Chaff", is an American song, first performed in the early 1830s. It was part of the repertoire of early blackface performers, including Thomas D. Rice and George Washington Dixon. The title character was one o ...

s fought and boasted that they could "wip heirweight in wildcats" or "eat an alligator". As public opinion toward blacks changed, however, so did the minstrel stereotypes. Eventually, several stock characters emerged. Chief among these were the slave, who often maintained the earlier name Jim Crow, and the dandy, known frequently as Zip Coon, from the song

Zip Coon "Turkey in the Straw" is an American folk song that first gained popularity in the 19th century. Early versions of the song were titled "Zip Coon", which were first published around 1834 and performed in minstrel shows, with different people c ...

. "First performed by George Dixon in 1834, Zip Coon made a mockery of free blacks. An arrogant, ostentatious figure, he dressed in high style and spoke in a series of malaprops and puns that undermined his attempts to appear dignified." The white actors who portrayed these characters spoke an exaggerated form of

Black Vernacular English African-American Vernacular English (AAVE, ), also referred to as Black (Vernacular) English, Black English Vernacular, or occasionally Ebonics (a colloquial, controversial term), is the variety of English natively spoken, particularly in urb ...

. The blackface makeup and illustrations on programs and sheet music depicted them with huge eyeballs, very wide noses, and thick-lipped mouths that hung open or grinned foolishly; one character expressed his love for a woman with "lips so large a lover could not kiss them all at once". They had huge feet and preferred "possum" and "coon" to more civilized fare. Minstrel characters were often described in animalistic terms, with "wool" instead of hair, "bleating" like sheep, and having "darky cubs" instead of children. Other claims were that blacks had to drink ink when they got sick "to restore their color" and that they had to file their hair rather than cut it. They were inherently musical, dancing and frolicking through the night with no need for sleep. Thomas "Daddy" Rice introduced the earliest slave archetype with his song "

" and its accompanying dance. He claimed to have learned the number by watching an old, limping black stable hand dancing and singing, "Wheel about and turn about and do jus' so/Eb'ry time I wheel about I jump Jim Crow." Other early minstrel performers quickly adopted Rice's character. Slave characters in general came to be low-comedy types with names that matched the instruments they played: ''Brudder Tambo'' (or simply ''Tambo'') for the

tambourine The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called " zills". Classically the term tambourine denotes an instrument with a drumhead, thou ...

and ''Brudder Bones'' (or ''Bones'') for the bone castanets or

bones A bone is a rigid organ that constitutes part of the skeleton in most vertebrate animals. Bones protect the various other organs of the body, produce red and white blood cells, store minerals, provide structure and support for the body, an ...

. These ''endmen'' (for their position in the minstrel semicircle) were ignorant and poorly spoken, being conned, electrocuted, or run over in various sketches. They happily shared their stupidity; one slave character said that to get to China, one had only to go up in a balloon and wait for the world to rotate below. Highly musical and unable to sit still, they constantly contorted their bodies wildly while singing. Tambo and Bones's simple-mindedness and lack of sophistication were highlighted by pairing them with a

straight man The straight man is a stock character in a comedy performance, especially a double act, sketch comedy, or farce. When a comedy partner behaves eccentrically, the straight man is expected to maintain composure. The direct contribution to the ...

master of ceremonies called the ''interlocutor''. This character, although usually in blackface, spoke in aristocratic English and used a much larger vocabulary. The humor of these exchanges came from the misunderstandings on the part of the endmen when talking to the interlocutor: :Interlocutor: I'm astonished at you, Why, the idea of a man of your mental caliber talking about such sordid matters, right after listening to such a beautiful song! Have you no sentiment left? :Tambo: No, I haven't got a cent left. Tambo and Bones were favorites of the audience, and their repartee with the interlocutor was for many the best part of the show. There was an element of laughing with them for the audience, as they frequently made light of the interlocutor's grandiose ways. The interlocutor was responsible for beginning and ending each segment of the show. To this end, he had to be able to gauge the mood of the audience and know when it was time to move on. Accordingly, the actor who played the role was paid very well in comparison to other non-featured performers. There were many variants on the slave archetype. The ''old darky'' or ''old uncle'' formed the head of the idyllic black family. Like other slave characters, he was highly musical and none-too-bright, but he had favorable aspects like his loving nature and the sentiments he raised regarding love for the aged, ideas of old friendships, and the cohesiveness of the family. His death and the pain it caused his master was a common theme in sentimental songs. Alternatively, the master could die, leaving the old darky to mourn. Stephen Foster's "Old Uncle Ned" was the most popular song on this subject. Less frequently, the old darky might be cast out by a cruel master when he grew too old to work. After the Civil War, this character became the most common figure in plantation sketches. He frequently cried about the loss of his home during the war, only to meet up with someone from the past such as the child of his former master. In contrast, the trickster, often called Jasper Jack, appeared less frequently. Female characters ranged from the sexually provocative to the laughable. These roles were almost always played by men in drag (most famously

George Christy George N. Christy (born George Harrington) (November 6, 1827 – May 12, 1868) was one of the leading blackface performers during the early years of the blackface minstrel show in the 1840s. Born in Palmyra, New York, his career began as a ...

Francis Leon Francis Leon (born Francis Patrick Glassey; November 21, 1844 – August 19, 1922) was a blackface minstrel performer best known for his work as a female impersonator. He was largely responsible for making the prima donna a fixture of blackface m ...

and Barney Williams), even though American theater outside minstrelsy was filled with actresses at this time. '' Mammy'' or the ''old auntie'' was the old darky's counterpart. She often went by the name of Aunt Dinah Roh after the song of that title. Mammy was lovable to both blacks and whites, matronly, but hearkening to European peasant woman sensibilities. Her main role was to be the devoted mother figure in scenarios about the perfect plantation family. The ''

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