Search Results for blackface performance

... Chapter 2, “Doing Antiblackness in the Hemispheric Fold: Blackface Performance in Miami in the Age of Obama,” analyzes Yeyo Vargas, a blackface figure of the Spanish-language late-night television program Esta Noche Tu Night, who was invented in 2008 as Barack Obama rose to power. Conjured...

... Chapter 3, “Flipping the Racial Script: Blackface Performance as Resistance in Colombia,” examines the deployment of blackface in the multimedia exhibit Mambo negrita by the Afro-Colombian artist Liliana Angulo. Amid the turn towards multiculturalism and new celebrations of diversity in art...

... “Introduction: Scenes of Racial Enjoyment in the Hemispheric Fold” argues for thinking with and across national silos to attend to the multiple and varying instantiations of blackface performance in the Americas in the twentieth and twenty-first centuries. Reimaging the Americas...

... repeating nationalist fictions racial conjuring blackface performance Hemispheric Americas ...

... performance in the region. colorblindness racial recognition blackface performanc ...

... Chapter 1, “Blackface and Racial Scripts at the Andean Fiesta: Staging the Slave Past in the Andes,” examines a performance by the Peruvian group Sambos Illimani at the 2013 Fiesta de la Virgen de la Candelaria, in which they use racial impersonation to commemorate the history of African...

... with three anecdotes about minstrelsy that demonstrate how it remains a vital (and vitally wrong) performance tradition in the United States today—how at any given historical moment, blackface minstrelsy offers a window into fantasies of black–white relations. Comparing cartoon minstrels to early twentieth...

... Chapter 5 examines the development of the blackface character, from the court minstrel shows to street performances to print magazines. While entertainment had served as a lifeline for some freed Africans in Iran in the early twentieth century, non-Black Iranian actors in blackface, now called...

... Chapter 6, “The Joker’s Wild, but That’s Nigga’s Crazy: Dave Chappelle Laughs until It Hurts,” opens with an incident in 2004 on the set of Chappelle’s Show , Dave Chappelle’s hit stand-up and sketch comedy series. When the comedian performed a “blackface pixie” sketch, he heard what sounded...

... that was one of the hallmarks of the vaudeville stage. As early animation producers developed cartoons from an attraction into an industry, they chose as a fundamental performative trope the gently antagonistic relationship between minstrelsy’s interlocutor and the blackface minstrel, transposing...

... but to restructure society as if no one had ever been enslaved. While the Pahlavis crafted a modern image of Iran on the world stage, freedpeople quietly built new lives as Iranian citizens. Chapter 5 examines the development of the blackface character, from the court minstrel shows to street performances...

... Chapter 3 showcases a case study that links the lives of dying eunuchs at the royal court to the rise of minstrelsy performances within a generation. Naser ed-Din Shah (r. 1848–96) began to memorialize court eunuchs through photography and memoirs, most of whom were of African ancestry who were...

... that links the lives of dying eunuchs at the royal court to the rise of minstrelsy performances within a generation. Naser ed-Din Shah (r. 1848–96) began to memorialize court eunuchs through photography and memoirs, most of whom were of African ancestry who were among the last generations of eunuchs in Iran...

... This chapter examines the industrialization of animation and the decline of artisanal performing animators. Animation is labor-intensive and involves much repetitive labor. The American animation industry emerged rapidly. Early figures such as John and Margaret Bray, Earl Hurd, Max and Dave...

... lightning-sketch vaudeville minstrelsy rebellion performing animator ...