Minstrelsy

History

Blackface minstrel performances can be traced to the 1600s with the production of William Shakespeare's play Othello. In the era of Othello 's production, Black people were barred from theatrical performances. Out of necessity, the actor portraying the character Othello wore blackface paint to represent the image of a Black male. Several 18th-century plays required Black characters in roles of nannies, maids, and cooks. To meet this need, White actors used burnt cork to paint their faces black. The characters wearing blackface normally had nonspeaking roles. When the characters were required to speak, it was usually to add humor to the play.

White actors performing in blackface paint continued into the 19th century. Charles Matthews, an Englishman, is credited as the founder of the [Page 459]solo minstrel show. Matthews's shows incorporated Black mannerisms he learned while studying African American music, dialect, folklore, and sermons. His shows were popular and led to additional minstrel shows featuring one-man performances.

During the 19th century, audiences were receptive of minstrel shows, and the reputation of the performances grew. Performances often mirrored societal issues such as social changes related to slavery in the United States. Some actors considered their performances a distraction from the mounting tensions between the North and the South, but other performers used their shows to counter the antislavery movement.

Minstrelsy often promoted the belief that slavery was not an issue of great concern. The shows portrayed Black people as being content with slavery and presented the false perception that the Black slaves valued their White masters and wanted to remain on plantations. Blackface characters scoffed at the notion of freedom. Actors characterized slave owners as kind men who considered slaves as family rather than property.

Minstrel shows slowly transformed from mute characters in theatrical plays to full-fledged shows that claimed to showcase authentic African American life. Over time, minstrel shows were further developed and continued to attract large audiences.

Performances

Minstrel show performances portrayed Black people as simpleminded, lazy, ignorant individuals who took sole pleasure in music and dance. The performances reinforced notions of White superiority. White audiences screened the shows and found advantage in their lives compared to what the minstrel show presented. Minstrelsy provided a link between all classes of Whites. Despite the White person's class, he or she was still considered superior to the Black person, based on the images presented on stage during this historical period.

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