Blackface is and is a form of theater make-up used primarily by non-black players to represent caricatures of blacks. This practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as "happy-go-lucky darkness on plantations" or "dandified coon". In 1848, the minstrel blackface show was an American national art of the time, translating formal art like opera into popular terms for the general public. At the beginning of the 20th century, the black face branched off from the singer's performances and became a form in itself, until it ended in the United States with the Civil Rights Movement of the 1960s.
Video Blackface
History
Blackface is an important performing tradition in American theater for about 100 years starting around 1830. It is rapidly becoming popular elsewhere, especially in Britain, where tradition lasts longer than in the US, occurs in primetime TV, the most famous in < i> The Black and White Minstrel Show, which ended in 1978, and at Are You Being Served? ' s Christmas specials in 1976 and finally in 1981. In both the United States and Britain, blackface is most often used in the performing tradition of singers, both of which precede and last long. The initial white appearance on the blackface uses a burning cork and then greasepaint or shoe polish to blacken their skin and exaggerate their lips, often wearing wool wigs, gloves, tail suit, or tattered clothes to complete the transformation. Later, black artists also appear with a black face.
The stereotype embodied in the minstrel blackface share characters not only plays an important role in cementing and fostering racist images, attitudes and perceptions around the world, but also in popularizing black culture. In some places, the caricature that is the legacy of the blackface survives to this day and is the cause of the ongoing controversy. Another view is that "blackface is a cross-dressing form in which a person puts on a gender, class, or race symbol standing in opposition to himself."
In the mid-20th century, changing attitudes about race and racism effectively ended the benefits of blackface makeup used in performances in the US and elsewhere. Blackface in contemporary art is still relatively limited to use as a theatrical device and is more commonly used today as a social or satirical commentary. Perhaps the most enduring effect of blackface is the precedent set in the introduction of African-American culture to international audiences, though through distorted lenses. Blackface's appropriation, exploitation, and assimilation of African-American culture - as well as the inter-ethnic artistic collaboration derived from it - are just a prologue for the packaging of profitable, marketing, and dissemination of African-American cultural expressions and the various forms of derivation in popular culture of today's world.
Racist archetype
There is no consensus about a moment that is the origin of blackface. John Strausbaugh puts it as part of the tradition "featuring Darkness for the enjoyment and affirmation of white audiences" beginning in 1441, when the captive West Africans were on display in Portugal. White people routinely portray black characters in the Elizabethan and Jacobean theaters (see British Renaissance theater), best known in Othello (1604). However, Othello and other dramas of this era did not involve emulation and caricature "such as the innate qualities of Blackness as inherent musicality, natural athleticism," etc. What Strausbaugh sees as important for blackface. Lewis Hallam, Jr., a black-and-white actor of American corporate fame, brings blackface in a more specific sense to a well-known theatrical device in the United States while playing the role of "Mungo", a drunken black man in The Locks , a British game aired in New York City at the John Street Theater on May 29, 1769. The show attracted attention, and other players adopted this style. From at least the 1810s, blackface clowns are very popular in the United States. British actor Charles Mathews toured the US in 1822-23, and as a result added a "black" characterization in his regional British type repertoire for his next show, A Trip to America, which included the singing of Mathews "Possum up a Gum Tree ", a song of popular slave freedom. Edwin Forrest played a black plantation in 1823, and George Washington Dixon had built his stage career around the blackface in 1828, but it was another white comic actor, Thomas D. Rice, who really popularized blackface. Rice introduced the song "Jump Jim Crow" which accompanied the dance on stage in 1828 and scored a star with it in 1832.
First on the heel tap, at the tips of the toes Every time I go around I jump Jim Crow I spin and spin to do just that,
And every time I circled I jumped Jim Crow.
Rice traveled to the US, performing under the stage name "Daddy Jim Crow". The name Jim Crow then became attached to the law codifying the restoration of separation and discrimination after the Reconstruction.
In the 1830s and early 1840s, blackface performances mixed up theatricality with comic songs and powerful dances. Initially, Rice and her colleagues only performed in relatively poor places, but as the blackface gained popularity they got a chance to appear as entr'actes in higher grade theater venues. Stereotyped blackface characters are developed: childish, lazy, superstitious, cowardly, and obscene characters, who steal, lie pathologically, and disrupt the English language. The early blacksmith sailors were all male, so the white man dressed in a uniform also played a black woman who was often described as being unattractive and very strange, in mother-like mammoths, or very sexually provocative. The American stage of the 1830s, in which the first blackface rose to prominence, featured the same comic stereotypes of the clever Yankees and the greater Frontiersman of life; In the late nineteenth and early twentieth centuries, the American and British stages where he last prospered featured many other comic, mostly ethnic-based stereotypes: compromising Jews; Irish drunkard with ready-made persuasion; Oily Italian; the Germans are odd; and gullible rural rubies.
The 1830s and early 1840s blackface performers featured solos or as duos, with occasional trios; traveling troupe that will characterize blackface minstrelsy appear only with singer performances. In New York City in 1843, Dan Emmett and his Virginia Minstrels broke the dark fights of his new acting and entr'acte status and performed his first full musical performances: a nightly entertainment composed entirely of performance blackfaces. (EP Christy performs more or less the same, apparently independently, at the beginning of the same year in Buffalo, New York.) Their loose performances with the musicians sit in a semi-circle, rebana players at one end and bone players on the other hand set precedents for what will soon be the first act of a standard three-show show. In 1852, the plays that had been part of the performance of the blackface for decades expanded to a one-pronged joke, often used as the show's third show.
The songs of northern composer Stephen Foster were very prominent in blackface performers at the time. Although written in dialect and certainly politically incorrect by today's standards, the songs are then free of racist taunts and racist caricatures that symbolize other songs of the genre. Foster works are treated slaves and the South in general with the often embarrassing sentimentalities that appeal to the audience that day.
White minstrel features white players pretending to be blacks, playing their black music versions and speaking in ersatz black dialect. Demonstration Minstrel dominated the popular show business in the US from then until the 1890s, also enjoying massive popularity in the UK and in other parts of Europe. As the singer's performance declines, the blackface returns to its new roots and becomes part of vaudeville. Blackface featured prominently in films at least into the 1930s, and the "aural blackface" of the Amos 'n' Andy radio show lasted until the 1950s. Meanwhile, the minstrel blackface show continued until at least in the 1950s. In England, one of the popular blackfaces of the 1950s was Ricardo Warley of Alston, Cumbria who toured North England with a monkey called Bilbo.
As a result, the genre plays an important role in shaping the perceptions and prejudices about blacks in general and African Americans in particular. Some social commentators claim that blackface provides an outlet for white fear of unknown and unknown ways, and socially acceptable ways of expressing their feelings and fears about race and control. Writing Eric Lott in Love and Theft: Blackface Minstrelsy and American Working Class , "Black mask offers a way to play with degraded and threatening collective fears - and men - Others while at the same time retaining some symbolic control over them. "
However, at least initially, blackface can also vote to the opposition dynamics prohibited by society. In early 1832, Thomas D. Rice fainted in singing, "And I warn all the white dandy to not stop me,/Because if dey insult me, dey'll be in de gutter lying." This is also on occasion of equalizing the lower and lower class of white audiences; while parodying Shakespeare, Rice sang, "Aldough I'm a black man, a white guy called me."
Movies
During the 1930s, many famous stage and stage entertainers also appeared in black. White people who appear in black films include Al Jolson, Eddie Cantor, Bing Crosby, Fred Astaire, Buster Keaton, Joan Crawford, Irene Dunne, Doris Day, Milton Berle, William Holden, Marion Davies, Myrna Loy, Betty Grable, Dennis Morgan , Laurel and Hardy, Betty Hutton, The Three Stooges, Mickey Rooney, Shirley Temple, Judy Garland, Donald O'Connor, Chester Morris, and George E. Stone at Boston Blackie's Rendezvous. In the late 1940s, Warner Bros. used a blackface in a minstrel show sketch in It is the Army (1943) and by casting Flora Robson as a Haitian helper at Saratoga Trunk (1945).
In the early years of the film, black characters were routinely played by white people on black faces. In the first known film of Uncle Tom's Cabin (1903), all the main roles of black are whites on black faces. Even 1914 Uncle Tom starring African-American actor Sam Lucas in the title role has a white man in a black face as Topsy. D. W. Griffith's The Birth of a Nation (1915) used white on the blackface to represent all the major black characters, but the reaction to film racism largely ended this practice in the dramatic film role. After that, the white man in the black face will appear almost exclusively in the wide comedy or "ventriloquizing" darkness in the context of vaudeville performances or singers in a movie. This is very different from white people routinely made by playing Native Americans, Asians, Arabs, and so on, for decades.
Blackface makeup was largely eliminated even from live movie comedy in the US after the late 1930s, when public sensibilities about the race began to change and the blackface became increasingly associated with racism and bigotry. However, the tradition does not end at once. The Amos 'n' Andy radio program (1928-60) is a type of "blackface aural", in which black characters are portrayed by white people and correspond to stagedotype blackface stage. The blackface convention also lives on unmodified at least until the 1950s in cartoon animated cartoons. Strausbaugh estimates that about a third of the late 1940's MGM cartoons "include black, coon, or mammy figures." Bugs Bunny appeared on the black face at least until the end of Southern Fried Rabbit in 1953.
Ballet
In 1910, Ballet Sheherazade , choreographed by Michael Fokine, aired in Russia. The story behind the ballet is inspired by the tone of poetry written by Nicolai Rimsky-Korsakov. In the ballet of prominent female character, Zobeide, seduced by Golden Slave. The dancer who portrays the Golden Slave, the first is Vaslav Nijinsky, will have his face and body painted brown for the show. This was done to show the slave's audience had darker skin. Then in 1912, Fokine made a ballet choreography Petrushka , which was performed on stage. Ballet centers surround three live dolls, Petrushka, Ballerina, and Moor. When ballet aired, part of the Moors, first danced by Alexander Orlov, performed in full black. The Moor puppet was first seen on stage playing with coconut, which he tried to open with his sword. The movement is like an ape. The Moors teased Ballerina and then cruelly cut off the head of the Petrushka doll. When Petrushka is done today, part of the Moors is still done in full black, or sometimes a blue face. Blackface has not been publicly criticized in the ballet community. Black and brownface appear in other ballet today, such as La BayadÃÆ'¨re and Othello , in the United States and Europe.
Black minstrel shows
In 1840, black players also appeared in black makeup. Frederick Douglass generally hates blackface and was one of the first to write against blackface minstrelsy agency, condemning it as racist in nature, with unnatural white origins, north. Douglass does, however, defend: "This is something to be gained when colored men of any form can appear before a white audience."
When black performers began to breed in the 1860s, they were often billed as "authentic" and "original". This "colored comedian" always claims to be a freed slave recently (undoubtedly a lot, but mostly not) and widely regarded as authentic. This assumption of authenticity can be a bit of a trap, with white audiences seeing them more like "animals in the zoo" than skilled workers. Although budgets are often smaller and smaller places, their public appeal is sometimes rivaled by groups of white singers. In March 1866, Booker and Clayton's Georgia Minstrels were probably the most popular troupe in the country, and certainly among the most critically acclaimed.
These "colored" groups - many of which use the name "Georgia Minstrels" - focus on "plantation" material, rather than more explicit social commentary (and more racist stereotypes) found in the depiction of blacks in the north. In the execution of original black music and percussion, polyrhythmic traditions of pattin 'Juba , when the only instrumental players used were their hands and feet, clapping and slapping their bodies and dragging and stomping their feet, black the entourage is very superior. One of the most successful black miners is the Troupe of Georgia Minstrels by Sam Hague, run by Charles Hicks. The company was eventually taken over by Charles Callendar. The Georgia Minstrels toured the United States and abroad and later became Haverly's Colored Minstrels.
From the mid-1870s, when blacks and whites became more luxurious and away from the "Negro subjects," blacks took the opposite tactics. The popularity of Fisk Jubilee Singers and other jubilee singers has shown a white north interest in white religious music sung by blacks, especially spiritually. Some jubilee entourage locates themselves as quasi-singers and even incorporates singer songs; Meanwhile, the Blackface troupe began to adopt the first yubileum material and then a wider range of southern black religious material. Within a few years, the word "jubilee", originally used by Fisk Jubilee Singers to break away from the minstrel blackface and to emphasize the religious character of their music, became little more than a synonym for "plantation" material. Where yubile singers try to "cleanse" the black Southern religion for white consumption, blackface viewers exaggerate its more exotic aspects.
Production of African-American blackface also contains comedy and comedy, through self-parody. In the early days of African-American involvement in theatrical performances, blacks could not perform without the makeup of black faces, regardless of how dark their skin was. The "colored" groups of the 1860s violated this convention for a while: comedy-oriented "comedic" endmen, but other commentators "surprised" commentators with their varied features. However, their appearance largely matches the existing blackface stereotype.
These black players became stars in the vast African-American community, but were largely ignored or criticized by the black bourgeoisie. James Monroe Trotter - a middle-class African-American who insulted their "disgusting" caricature but admired their "music culture" very highly - wrote in 1882 that "some... who condemned black singers for giving 'help and comfort to the enemy "" never seen them perform.Unlike a white audience, black audiences may always recognize blackface performance as a caricature, and are delighted to see their culture observed and reflected, just like half a century later in the Moms Mabley show.
Despite reinforcing racist stereotypes, blackface minstrelsy is a practical livelihood and is often relatively advantageous when compared to the rough work that most blacks degrade. Due to the day's discrimination, "corking (or blacking)" provides a unique opportunity for African-American musicians, actors and dancers to practice their craft. Some singer performances, especially when performing outside of South Korea, are also subtly managed to ridicule the racist attitude and double standards of the white community or fight for abolitionist goals. Through black, white and black performances, the wealth and joy of African-American music, humor and dance first reached the white, mainstream audience in the US and abroad. It was through blackface minstrelsy that African American players first entered the mainstream of American show business. Black appearance uses blackface performance to mock white behavior. It is also a forum for double sexual jokes favored by white moralists. There is often a subtle message behind the vaudeville routine that is outrageous:
The laughter that flowed out of the chairs was directed toward the Americans who allowed themselves to imagine that the 'negro' show was in any way related to the way we live or think about ourselves in the real world.
With the rise of vaudeville, the Bahamian-born actor and comedian Bert Williams became the highest motivated star Florenz Ziegfeld and the only African-American star.
In the Theater Owner's Booking Association (TOBA), the all-black vaudeville circuit held in 1909, blackface acts became a popular staple. Called "Toby" for short, the player is also nicknamed "Difficult in Black Actors" (or, variety, "Artist" or "Asses"), because earnings are very few. Still, TOBA leaders like Tim Moore and Johnny Hudgins can make a very good life, and even for lower players, the TOBA provides a fairly stable and more desirable job than is generally available elsewhere. Blackface serves as a springboard for hundreds of artists and entertainers - black and white - many of whom will later go on to find work in other performing traditions. For example, one of the most famous stars of European Minstrels from Haverly is Sam Lucas, who came to be known as the "Grand Old Man of the Negro Stage". Lucas then plays the title role in the production of 1915 Harriet Beecher Stowe cinema. Uncle Tom's Cabin . From the early 1930s to the late 1940s, the famous New York City Apollo Theater in Harlem featured theatrics in which almost all black male players wore black makeup and large white lips, despite protests that it was derogatory from the NAACP. Comics say they feel "naked" without it.
The singer's performance was adjusted by the black player from the original white show, but only in its general form. Blacks take over forms and make them themselves. The professionalism of the show comes from the black theater. Some argue that black singers give the vitality and humor that shows that white shows never. As black social criticism LeRoi Jones has written:
It is important to realize that... the idea of ​​white people imitating, or making caricatures, what they consider certain generic characteristics of black life in America is important if only because of the Negro's reaction to it. (And this is a Negro reaction to America, the first white and then black and white American, which I consider to have made it a unique member of this society.)
The black singer's performer not only made fun of himself but in a deeper way, he mocked the white man. The cakewalk is a white pretense of caricature, while the white theater company seeks to sing cakewalk as a black dance. Again, as LeRoi Jones notes:
If cakewalk is a typical white caricature Negro dance, what is that dance when, say, a white theater company trying to sing it as a Negro dance? I found the idea of ​​a white singer on a black face insinuating a self-satisfying dance as the king of incredible irony - which, I think, is the essence of the singer's performance.
Maps Blackface
Authentic or artificial
The extent to which the performance of blackface draws on contemporary and controversial African-American culture and tradition. Blacks, including slaves, are influenced by white culture, including the culture of white music. Of course this is the case with church music from the early days. Things get complicated further, once the blackface era begins, some blackface singers songs without hesitation are written by New York based professionals (Stephen Foster, for example) making their way to the plantations in the South and merging into the body of folk music African-American.
However, it seems clear that American music in the early nineteenth century was a mixture of many influences, and that blacks were quite aware of the tradition of white music and incorporated it into their music.
In the early years of the nineteenth century, the influence of white-to-black and black-to-white music was widespread, a fact documented in contemporary accounts. [...] [I] became clear that the prevailing musical interaction and influence in nineteenth-century America produced a black population that was conversant with the music of both traditions.
Early adult sluts often say that their material is largely or completely authentic to African-American culture; John Strausbaugh, author of Black Like You , says that such claims are unlikely to be true. Until the 20th century, scholars took the story at face value. Constance Rourke, one of the founders of what is now known as a cultural study, largely assumed this until the end of 1931. In the era of Civil Rights there was a strong reaction to this view, denying that the blackface was anything other than a racist white skin. Beginning no more than Robert Toll's Blacking Up (1974), the "third wave" has systematically studied the origins of blackface, and has put forward a nuanced picture: that the blackface is, indeed, interesting to African-Culture America, but that transforms, stereotypes, and caricature of that culture, so it is often a racist representation of a black character.
As discussed above, this picture became more complicated after the Civil War, when many African-Americans became black artists. They draw a lot of material from the unquestionable slave origins, but they also attract the instinct of a professional player, while working in an established genre, and with the same motivation as the white players to make exaggerated claims about the authenticity of their own material.
The writer Strausbaugh concludes as follows: "Some singing songs begin with Negro folk songs, adapted by white singers, becoming very popular, and re-read by blacks," writes Strausbaugh. "The question of whether minstrelsy is white or black music is debatable, it's a mixture, a mongrel dog - that's American music."
"Darky" iconography
The icons of darkness itself - with googly eyes, with untidy skin, excessive white lips, pink or red, and bright white teeth - are common motives in entertainment, children's literature, bank mechanics, and other toys and games of all kinds, cartoons and comic strips, commercials, jewelry, textiles, postcards, sheet music, branding of food and packaging, and other consumer goods.
In 1895, Golliwogg appeared in Great Britain, the children's illustrated book product of Florence Kate Upton, who mimics the character of his cloth doll after a minstrel doll from his childhood in America. "Fat", as he was later called, had a jet black face, wild hair, wool, bright red lips, and formal formal wear. Generic British Golliwog then makes its way back across the Atlantic as a doll, tea toy equipment, female perfume, and various other forms. The word "golliwog" may have given birth to an ethnic slogan "slog".
US cartoons from the 1930s and 1940s often feature characters in blackface jokes as well as racial and ethnic caricatures. Blackface is one of the influences in character development like Mickey Mouse. The United Artists 1933 released "Mickey's Mellerdrammer" - the name of a corruption of "melodrama" supposedly coming back to the earliest minstrel event - is a short film based on the production of Uncle Tom's Cabin by Disney characters. Mickey, of course, was black, but the ad poster for the film showed Mickey with excessive orange lips; bushy, white sidewhiskers; and his now famous white gloves.
In the US, in the 1950s, the NAACP began to draw attention to African-American depictions and advance the campaign to end the show and depictions of the black face. For decades, dark images have been seen in the branding of daily products and commodities such as Picaninny Freeze , chain restaurants Coon Chicken Inn, and Nigger Hair Tobacco. With the ultimate success of the Civil Rights Movement today, such racist branding practices end in the US, and blackfaces become American taboos.
Advanced Use in Asia
However, the iconography that is inspired by black color continues in popular media in Asia. In Japan, in the early 1960s, a toy called Dakkochan became very popular. Dakkochan is a black kid with big red lips and a grass skirt. There are male and female dolls, with girls distinguished by bows. The blacks of the doll are said to be significant and in line with the increasing popularity of jazz. Novelis, Tensei Kawano, said, "We of the younger generation are wasted from politics and society, in our way like Negroes, who have a long record of oppression and misunderstanding, and we feel the same with them. Japanese cartoons continue to feature characters inspired by the "dark" iconography, including Mr. Popo is famous in the popular series Dragonball Z..
To this day, famous brands continue to use iconography, including Chinese toothpaste Darlie brands, renamed from "Darkie", and "Black Man" in Thailand. Vaudeville's black face is still frequently used in advertisements.
Modern manifestations
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Over time, blackface and "dark" iconography became the artistic and stylistic tools associated with art deco and Jazz Age. In the 1950s and 1960s, especially in Europe, where more tolerable, blackface became a kind of outrà ©  © , camp convention in some artistic circles. The Black and White Minstrel Show was a popular British music show featuring black performers, and remained on British television until 1978 and in stage performances until 1989. Many of the songs came from the hall music, country and western tradition and people. Blackface actors and dancers appear in music videos such as Grace Jones's "Slave to the Rhythm" (1980, also part of his A One Man Show tour), Culture Club "Do You Really Wanna Hurt Me "(1982) and Taco's" Puttin 'On the Ritz "(1983).
When trade and tourism generate cultural encounters, bringing different sensitivity about the blackface into contact with each other, the results can be jarring. When the Japanese tohaker Sanrio Corporation exported a dark-headed character doll (doll, Bibinba, had pouty lips and pink ring in the ear) in the 1990s, the controversy that led Sanrio to stop production.
The trademark for Conguitos, a confection produced by the LACASA Group has a light brown character with full red lips. In the UK, Golly's, Golliwog's character, was disliked in 2001 after nearly a century as a trademark producer James Robertson & amp; Children, but the debate still continues whether golliwog should be thrown in all forms of production and commercial appearance further, or preserved as a precious childhood icon. In France, the Banania chocolate powder still uses a small black kid with large red lips as a symbol. The taboo licorice brand, owned by Perfetti Van Melle and distributed in Europe, introduced a cartoon mascot in the 1980s inspired by the performance of Blackface Al Jolson at The Jazz Singer, still in use today.
The effect of blackface on branding and advertising, as well as on perceptions and depictions of blacks, generally, can be found all over the world.
High technology
Digital media provides an opportunity to inhabit and perform a black identity without actually painting a person's face. In 1999, Adam Clayton Powell coined the term "high-tech blackface" to refer to the stereotypical portrayal of black characters in a video game. David Leonard writes that "The desire to 'be black' because of the stereotypical vision of power, athleticism, strength, and sexual potential all play in the virtual reality of sports games." Leonard's argument shows that players are doing this type of Identity tourism by controlling black avatars in sports games. Phillips and Reed argue that this type of blackface "is not just about whites with black roles, or about excessive darkness for the benefit of racist audiences, but it is about doing a dark version that blocks it within readable limits for white supremacy. "
Social media also facilitates the spread of blackface in culture. In 2016, there was a controversy over Bob Marley's Snapchat filter, which allowed users to lay dark skin, dreadlocks, and knitted hats on their own faces. A number of controversies also surfaced about students at American universities who shared pictures of themselves who appeared to be wearing black makeup. In addition, authors such as Lauren Michele Jackson and Victoria Princewill have criticized non-blacks who share black animated or black emoji images, calling the practice of "digital blackface".
Media
In 1980, a white member of UB40 appeared on the black screen in their "Dream a Lie" video. The members of the black group wearing white makeup on their faces to give an opposite appearance.
Papa Lazarou was a character on the TV-horror comedy show The League of Gentlemen in the 1990s, and the next film. The excessive shape of the gypsy black face is manifested by the 'local' fears of outsiders. It was revealed at the end of the series that this was the original skin color.
A sketch in the 2003 episode Little Britain features two characters appearing in the blackface as a singer, as was commonly seen on British television until the 1980s. The same character returned to a single sketch of 2005. In the sketches, racist nuances are subverted with characters presented as races that actually have white appearances on black faces (referred to as "Minstrels") who are persecuted by public and local governments.
Comedians in many Asian countries continue to use male-inspired blackface, with a sizable and endless frequency in South Korea.
Geographic
Australia
In October 2009, a talent search drama on the Australian TV show Hey Hey It's Saturday featured a reunion featuring a Michael Jackson homage group, "Jackson Jive" in black, with a Michael Jackson character in white. American actor Harry Connick, Jr. was one of the guest judges and objected to the act, stating that he believed it offended the blacks, and gave the group a zero score. The show and group later apologized to Connick, with the leader of the Indian entourage who declared that the play was not intended to be offensive or racist.
Belgium and the Netherlands
In Tintin in the Congo , cartoonist HergÃÆ' Â © uses a blackface type drawing style to depict the natives of Congo. And in the Dutch comics Sjors & amp; Sjimmy, started in 1902, Sjimmy was originally portrayed in the same way, but gradually transformed into normal but black, the Dutch boy and in 1969, when Jan Kruis took over the comic, his transformation into a normal boy finished.
In the Netherlands and Belgium, people celebrate St. Nicolas Eve with Sinterklaas was accompanied by some Zwarte Pieten in the form of teenage boys and girls, and men and women, with their faces painted in black, or different colors or styles in several large city parades. Currently, wearing a Moorish yard costume. The Moorish character Zwarte Piet was traced back to the mid-19th century when Jan Schenkman, a popular children's author, added an African waitress to the story of Sinterklaas. However, the original and archetype Zwarte Piet is believed to be a continuation of a much older habit in which black-faced people appear in the Winter Solstice ritual. In other parts of Western Europe and Central Europe, black-faced and masked people also perform the role of a friend of Saint Nicholas, known as Nikolo in Austria, Niklaus in Germany and Samichlaus in Switzerland. Also at Saint Martin's Eve, a black-faced man wanders through the procession through WÃÆ'¶rgl and Lower Inn Valley, in Tyrol.
Zwarte Piet as a depiction of a Moorish yard resembles many of the classic "dark" icons, and visitors are often surprised to see whites made in what appears to be a classic black. Internal opposition to this practice has been around since the 1960s. Some stereotypical elements have been weakened in recent decades. However, the 2013 survey shows support amongst the Dutch population is still strong: 89% of 19,000 respondents oppose to change the appearance of characters, 5% favorable change, and 6% have no strong opinion.
Canada
Until the early 2000s, white comedians sometimes used makeup to represent blacks, most often as a parody of the real person. For example, the Montreal-based guild group, Rock et Belles Oreilles, often uses such a method when comedian Yves Pelletier masquerades as a comedian and host of Gregory Charles, mocks his energetic personality in his televised game "Que le meilleur gagne" instead his racial background. They also make sketches where the fictitiously stereotyped Haitian people are easily offended. The same comedian did another parody of Gregory Charles for a special New Year's TV show "Le Bye Bye de RBO" in 2006, in tribute to Charles for having had a very successful year.
In September 2011, students of HEC Montrà © Å © al caused a stir when using blackface to "pay tribute" to Jamaican sprinter Usain Bolt during Frosh Week. This story became national news, and even covered on CNN. The university students were filmed in the colors of the Jamaican flag, chanting "blobs of smoke" in the choir. The university then apologized for the lack of awareness of the student body.
In May 2013, a comedian named Mario Jean appeared in black to emulate Boucar Diouf, an African comedian-immigrant. Many prominent Quebec journalists and experts who defend the practice and deny the history of the blackface are part of Quebec's history. Comedians and story-tellers, Boucar Diouf praised his comedian colleagues as a sign of great open-mindedness.
In December 2014, the satirical end-of-year production by ThÃÆ' Â © ÃÆ' Â ¢ tre du Rideau Vert, a mainstream theater company, includes a blackface representation of hockey player P.K. Subban by white actor Marc Saint-Martin. Despite criticism, the sketch has not been withdrawn.
Cape Verde
There are several blackening events (completely covering the entire affected body) with afro wigs and stereotypical grass skirts and costumes at this African country festival.
China
On February 15, 2018, a comedy sketch entitled "Same Joy, Same Happiness" intends to celebrate the China-Africa relationship on the New Year's Eve CCTV, which attracts an audience of up to 800 million, showing a Chinese actress in a black face makeup with a fake bottom giant playing an African mother, while the player only shows the black arm playing the monkey to accompany her. At the end of the comedy, the actress shouted, "I love Chinese people! I love China!" Once aired, the scene was widely criticized as "disgusting", "awkward" and "totally racist" on Twitter and Sina Weibo. But according to a street interview by the Associated Press in Beijing on February 16, some Chinese believe such criticism is too much. Chinese Foreign Ministry Spokesman Geng Shuang, who also watched the drama, said that China consistently opposed all forms of racism, adding, "I would say that if anyone wants to confiscate an incident to exaggerate the problem, in China's relationship with African countries, this is a fruitless effort that fails "in a daily news on February 22.
Europe
In Europe, there are a number of folk dances or folk shows in which a black face appears to represent the night, or the arrival of a longer night associated with winter. Many autumn or fall in northern Europe black rituals are employed in ritual to ease the coming winter force, exploit characters with blackened faces, or black masks.
Finnish
In Finland, a version of the Star Boys singing procession from Oulu, a musical known as Tiernapojat, has become a respected Christmas tradition throughout the country. Tiernapojat show is a Christmas celebration at school, kindergarten, and elsewhere, and aired every Christmas on radio and television. The Finnish version contains unbiblical elements such as Herod's king who defeated the "king of the Moors", whose face in the drama was traditionally painted black. The skin color of the characters is also a theme in the lyrics of the procession.
German
A group of showrooms at Carnival Cologne named NegerkÃÆ'¶pp , founded in 1929, acting with their hands and faces painted black.
Dutch Dutch musician Taco Ockerse sparked controversy in 1983 by using dancers in black for a synthpop hit version of "Puttin 'on the Ritz".
In Germany, blackface is used in several theatrical productions.
Examples of theater productions include much of the production of the drama "Unschuld" (Innocence) by German writer Dea Loher, although in this game about two black African immigrants, the use of black faces is not part of the instructions or stage instructions. The drama "Unschuld" (Innocence) at the Deutsches Theater in Berlin was also subjected to protests. The activist group "BÃÆ'¼hnenwatch" (stage view) took action in one of the stagings: 42 activists, disguised as spectators, left the audience wordless and then distributed the leaflets to the audience. The basis of his criticism is that the use of black-face froze stereotypes regardless of good intentions and supports racist structures. The critics were invited to a discussion with the director, actors, theater managers and other artists from Deutsches Theater. As a result of the discussion, Deutsches Theater changed the make-up design of the actor. Ulrich Khuon, the theater manager, later admitted shocked by the protests and is now in the process of reflection.
German Production Herb Gardner I'm Not Rappaport almost always plays the role of Midge Carter, a black character, famously portrayed in the US by Ossie Davis, with a white-skinned black actor. The 2012 drama production at Berlin's Schlosspark-Theater was the subject of protest. The director, Thomas Schendel, in his response to critics, argues that the classical and general drama will not offer a sufficient role that would justify a repertoire of positions for black actors in a German theater company. Protests grew rapidly and were followed by media reports. While theater advocates point out that in principle it is possible for the actor to play any character and that the game itself has an anti-racist message, the critics noted that the letter was unwilling to disclose the general policy of the unexpired German theater, that is, the actor of the leather white is considered eligible for all roles, even black ones, while black actors are only suitable for black roles. Other authors say that this problem in Germany generally exists for citizens with immigrant backgrounds. The debate also gained the attention of foreign media. Schlosspark-Theater announced plans to continue the show, and the German publishing company Rappaport said it would continue to grant permission for the show.
Dramatic Germany commented on the debate:
Unfortunately, I do not believe that our society has received a black Faust in the theater.
We also have problems to deal with racism. We try to solve it by promoting tolerance, but tolerance is not the solution to racism. Why not? Because it does not matter if our friend is an immigrant if, at the same time, we can not throw a black man into the village because then nobody can really understand the "real" essence of that part. The issue of racism is primarily a matter of representation, especially in the theater.
In 2012, American playwright Bruce Norris canceled the production of his German drama Clybourne Park when it was revealed that a white actress would play African-American "Francine". The next production using black German actors was successfully staged.
Guatemala
President-elect Guatemala 2015, Jimmy Morales, is a comic actor. One of the characters he imitated in his comic show "Moralejas" is called Black Pitaya which uses blackface makeup. Jimmy Morales defended his blackface character saying he was adored by black Garifuna country and native Maya community.
Iran
Hajji Firuz is a character in Iranian folklore that appears on the streets at the beginning of the New Year festival in Nowruz. His face was covered in soot, which symbolized dirt and dust from the previous year.
Japanese
In Japanese hip hop, the hip hopper subculture uses the burapan style, and is referred to as blackfacers. The emergence of these blackfacers is a testament to the popularity of hip-hop movements in Japan despite what is described as a racist tendency in culture. Some Japanese hip-hop fans find it embarrassing and ludicrous that blackface fans do this because they feel that they should not change their appearance to embrace the culture. In some cases, this can be seen as a racist act, but for many young Japanese fans it is a way to immerse themselves in the hip hop culture as they wish. The use of blackface is seen by some as a way of rebelling against the surface image culture in Japan.
Blackface also remains a controversial issue outside of hip hop. One group of R & amp; The Japanese B, Gosperats, have been known to wear blackface makeup during the show. In March 2015, a music television program produced by Fuji TV network is scheduled to feature a segment featuring two Japanese groups appearing together in blackface, Rats & amp; Stars and Momoiro Clover Z. Pictures published online by one of the Mice & amp; The starred member after the segment was recorded, leading to a campaign against segment broadcasting. The program aired on March 7 edited by the network to remove the segment "after considering the whole situation", but the announcement did not recognize the campaign against the segment.
Mexico
In modern Mexico there are examples of images (usually caricatures) in the blackface (eg, MemÃÆ'n PinguÃÆ'n). Despite the reaction of the international community, Mexican society has not protested that these images turned into racially sensitive images. In contrast, in the controversial cartoon MemÃÆ'n PinguÃÆ'n there is public and political support (chancellor to Mexico, Luis Ernesto Derbez). Currently in Mexico, only 3-4% of the population consists of Afro-Mexicans (this percentage includes Asian Mexicans).
A well-known example of blackface in Mexican media is a comedy episode based on the Civil War titled La guerra de secesiÃÆ'³n de los Estados Unidos (War of US Ownership) in which the famous comedian Chespirito performs a comedy drama in black.
Panama
Carnival and the Congo of Portobelo dance in Panama include the use of blackface as a form of African historical celebration, an emancipatory symbol. Black men paint their faces with charcoal representing three things. First, blackface is used as a tool to remember their African descent. Second, the black face is the representative of the disguise or concealment of the escaped slaves will be used to avoid the Spanish invaders. Finally, the practice of blackface is used as a way to signify code or "secret language" that will be used by slaves during the Spanish occupation. During the celebration, for example, good morning will mean good night, and wear black, or in this case the blackface, which usually shows the time of mourning, is used as a way to represent the celebration time instead.
Portugal and Brazil
In Portugal, there is no long history of use of actors in the blackface for "serious" performances meant for realistic black characters, but the use of blackface for comedy continues to be used often well into the 21st century. The talk-show 5 The a Meia-Noite, an example of which several episodes were hosted by LuÃÆ's Filipe Borges and Pedro Fernandes, both of whom have done so, use it almost every week. The use of black performance in imitation is quite commonly used in songs (ongoing) and impressions show A Old Way nÃÆ' Â £ o Me ÃÆ'â € Estranha , with blackface show Michael Jackson, Siedah Garrett, Tracy Chapman , Louie Armstrong, Nat King Cole, among others.
In Brazil, there are at least some historical uses of non-comedic blackface, using white actors for black characters such as Uncle Tom (though the practice of "racelift", or making black/mulatto characters into mestiÃÆ'§os/swarthy whites/caboclos, more often than blackface ). The use of blackface in humor has been used less frequently than in Portugal, though it also continues into this century (but creates a major uproar among the bigger and politically active political communities).
South Africa
Inspired by the minstrel blackface who visited Cape Town, South Africa, in 1848, the former Javanese and Malay porters took on the minstrel tradition, holding emancipatory celebrations comprising music, dancing and parades. Such celebrations eventually consolidated into an annual year-end event called "Coon Carnival" but now known as Cape Town Minstrel Carnival or Kaapse Klopse.
Today, most carnival singers are Colored ("mixed race"), people who speak Afrikaans. Often in a peeled blackface style that just exaggerates the lips. They paraded down the city streets in colorful costumes, in celebration of the Creole culture. Participants also paid homage to African-American carnival roots, playing Negro spiritual and jazz music featuring traditional Dixieland jazz instruments, including horns, banjars and tambourines.
South African actor and filmmaker Leon Schuster is best known for using blackface techniques in his filming for little or no controversy. But in 2013, the South African Advertising Standards Authority stopped ad serving in which Schuster portrays a dishonest and dishonest African politician in black. The action was in response to the following complaints:
... the advertisement was offensive because it depicts the stereotype that black politicians are liars. This technique is known as the blackface, and is an inherent form of racist acting. The black character is depicted with insulting intent, speaks with a thick accent, and reminds the stereotypical black dictator. To achieve the desired result by showing a corrupt official, there is no need for that person to become black.
Vodacom South Africa has also been accused of using non-African actors in blackface in advertising as opposed to only using African actors. Some have denounced the blackface as an artifact of apartheid, accusing black broadcasting institutions. Others continue to see it as "harmless pleasure". In 2014, photographs of two white Pretoria University students wore blackface makeup in an effort to make a dark PRT caricature appear on Facebook. The students are said to face disciplinary action for throwing the name of the institution into disrepute, even though it has done an incident at a private party and then recorded the picture. Stellenbosch University students Poekie Briedenhann and a friend drew much controversy after posting pictures of themselves in what appeared to be dark paint and then accused of wearing "black faces" and being wrongly suspended from their abode and later restored. The couple claimed they had dressed up like purple aliens for a space-based dwelling party.
Thai
In Thailand, the actors darken their faces to portray the Thai Negrito in popular drama by King Chulalongkorn (1868-1910), Ngo Pa (Thai: ????? ?? ), which has turned into music and movies.
United Kingdom
Hunters and troublemakers
From 1723-1823, it was a criminal offense to blacken a person's face in some circumstances, with the death penalty. The Black Act was passed at a time of economic downturn that caused increased social tension, and in response to a series of raids by two groups of dark hunters who blackened their faces to prevent identification. Blacken a person's face with soot, soot, shoe polish or coal dust into a traditional disguise, or masking, in the UK, especially at night when hunting.
The Welsh Rebecca Rioters (1839-1843) were used to blacken their faces and/or wear masks to prevent themselves being identified when breaking down the toll gate, sometimes dressed as women.
Folk culture
The traditional Western English folk games sometimes have Turk Slaver characters, probably from the Barbary Coast Slave raids in Cornwall, Devon, Dorset and Somerset in the early 17th century by "Sallee Rovers" (in which the English were slaves who were captured and taken with forced to North Africa). These characters are usually played using a black face (or brownface).
Various forms of folk dance in England, including Morris dancing, have traditionally used blackface; its continuous use by some groups is controversial.
Molly Dancers and Cornish Guise Dancers, both of whom are usually traditionally associated with the mid-winter festival, often use black faces as disguises. As a dancer Molly wants to avoid being identified by landlords and small nobles, who are also usually local Magistrates, when they play tricks on those who fail to be generous enough in their giving to the dancers. And the Guise dancers (covert dancers) also want to avoid any punishment because their mocking songs embarrass the local nobility.
In Bacup, Lancashire, Coco-nut Britannia dancers, wear black faces. Some believe the origins of this dance can be traced back to the entry of Cornish miners into northern England, and black faces are associated with blackened faces associated with black mining.
In Cornwall, some Mummer Day festivals are held; this is sometimes known as "Darkie Day" (a corruption of the original "Darking Day", referring to embezzlement or face painting) and involves local residents dancing on the streets in blackface to musical accompaniment. Although the faint origins for Mummer's Day have no racial connotations - these traditions come from idolaters and back to the controversial Celts-era, in the Padstow festival, singer songs, like one song with the words "Where did he go good niggers go ", previously included due to the popularity of singer songs during the early 20th century, probably because people are unaware of the pagan origins of face painting.
Traditional wedding chimney sweeps, regarded as luck, sometimes have faces that are partially blackened to suggest soot stains. It depends on the player but it is, and still, unusual to have full blackout. Although complete complete "grayface" is known.
These two traditions, about sweeps and folk dances, coincide with the tradition of sweeping tradition (chimney) that is sometimes lost. Medway Council supports the Sweeps' Festival, revived in 1981, now claimed to be "the world's largest Morris dance festival". It takes place in Rochester around May Day and features the character Jack in the Green. Initially sweep the chimney is a small boy, and they use the day to ask for money, until this child labor is banned.
In Guy Fawkes' Day 2017, participants in Lewes Bonfire, the most famous of the Sussex campfire tradition, decided to leave black face paint in their portrayal of Zulu warriors.
United States
20th century
At the beginning of the 20th century, an African-American group of workers started a marching club at the New Orleans Mardi Gras parade, dressed as homeless and calling themselves "The Tramps". Wanting a brighter display, they renamed themselves to "Zulus" and copied their costumes out of the vaudeville black drama performed at local black jazz clubs and cabarets. The result is one of the most famous and most striking Mardi Gras knights, Zulu Social Aid and Pleasure Club. Wearing grass skirts, top hats and excessive black faces, Zulu New Orleans is controversial and also popular.
An example of a neglect in American culture for racial boundaries and color lines is the popular duo of Amos 'n' Andy, a character played by two white men. They gradually stripped off blackface makeup during a live performance in 1929 while continuing to speak in dialect (see English-American English Language).
In 1936 Orson Welles was on tour to Voodoo Macbeth ; the lead actor, Maurice Ellis, gets sick, so Welles goes into the role, performing in a black face.
The use of blackface was once a regular part of the annual Mummers Parade in Philadelphia. Growing dissent from civil rights groups and black community violations led to the 1964 city policy, which ruled out black. Regardless of the blackface ban, the brownface is still used in a parade in 2016 to portray the Mexicans, causing anger once again among civil rights groups. Also in 1964, subject to pressure from a group of Concern groups, teenagers in Norfolk, Connecticut, reluctantly agreed not to use blackface in their traditional fundraising show for the March of Dimes.
Grace Slick, singer Jefferson Airplane, wore a black mask when they performed "The Crown of Creation" and "Lather" at The Smothers Brothers Comedy Hour in 1968. The clip was included in the 2004 Fly Jefferson Airplane documentary, directed by [ Bob Sarles. Frank Zappa is portrayed in black on the cover of his triple album Joe's Garage, released in 1979. In 1980, an underground film,
Joni Mitchell has been using the blackface many times throughout his career, even marketing his 1977 album using the alter ego "Art Nouveau" on the cover of his Don Juan's Reckless Daughter album.
Mitchell remained unrepentant about him changing the 'persona,' quoting that he "lacks the soul of a white woman... I write like a black poet. I often write from a black perspective" in an interview with LA Weekly. His denial of any error does not go away without criticism, as Sheila Weller writes in her book Girls Like Us "Joni romanticized to black, without loss.He will increasingly insist that his music is 'black' and that, as he progresses deep into jazz, that must be played on the black station (rarely). "
Soul Man is a 1986 American film featuring C. Thomas Howell as Mark Watson, a rich college graduate who uses 'tanning pills' to qualify for a graduate school scholarship for Harvard Law only available to African American students. He hopes to be treated as a student and instead learn the isolation of 'being black' on campus. Mark Watson later became friends and fell in love with the original candidate of the scholarship, a single mother who worked as a waitress to support her education. The character then 'came out' as white, leading to the famous line of defense "Can you blame him for his skin color?" The film is filled with great criticism from a white man who wears a black face to humanize white ignorance at the expense of African American audiences. Despite a large office box intake, it has a low score on every critically acclaimed movie platform. "The white man in black mask is a taboo," says Thomas Howell. "The conversation is over - you can not win, but our intention is pure: We want to make a funny movie that has a message about racism.
The former Illinois congressman and leader of the Republican minority party, Bob Michel, caused a minor uproar in 1988, when on a tele
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