MINSTREL SHOWS

MINSTREL SHOWS

            After the juba, minstrel shows began to increase in popularity. The blackface minstrel show became a pre-eminent form of American entertainment for the major part of the 19^th century. These shows consisted of white actors (male) who would paint their faces black to appear more “authentic” and “exotic”. The process began by first applying a base coat of cocoa butter to the face, then applying a cork paste made out of burnt corks to achieve the “blackface” look. It was important to leave a large white ring around the mouth to enhance the lips, accentuating and mocking features of African-Americans. A wig would also be worn out of mattress stuffing to give the appearance of curly, wild hair. Minstrel shows were performed on stage and mocked the style of traditional African dance, while incorporating influences of Irish jigs and clogging mixed with juba rhythms that helped create the dance sequences (“The Origin of Tap Dance”, 2014). Minstrel shows were vitally important in the development of tap dancing. On the minstrel stage, African-American dances were confined to the space and displayed to the public, but performed by white actors and dancers. This process cemented the fusion of black and white styles of dancing.  Together, this paired with the new dance sequences being formed showed the early moments of American tap dance.

Minstrel shows were also a vehicle in which white Northern audiences dealt with issues of slavery and abolition. Characters of “happy plantation blacks” were created (i.e.: Jim Crow) or unhappy Northern free blacks (Knowles, 115). These false images and presentations allowed Northern audiences to deny the cruelty of slavery, rationalize the racial caste system, and ignore all prospect of social change. Minstrel shows began to decline because of production costs, lack of revenue, and new forms of entertainment that were quickly flourishing. Performers in minstrel shows were lured away to the higher salaries offered in the new theatrical genre of vaudeville. Based off the novel, the musical “The Black Crook” (1866) dazzled and engaged audiences, making them demand different forms of entertainment. Another factor that played into the decline of minstrelsy was the increasing presence of women in the theatre. The traditional all-male casts of performers made the shows seem stale and boring. Some shows began to incorporate women into their productions, while others held true to their original cast members and slowly declined in productions and profit.