Ring Shout, Wheel About: The Racial Politics of Music and Dance in North American Slavery

Notes

199 Notes Introduction 1. Ray Stannard Baker, Following the Color Line: An Account of Negro Citizenship in the American Democracy (New York: Doubleday, Page, 1908), 28. 2. Ibid., vii. 3. Ibid., 61. 4. Tuscaloosa Monitor, February 23, 1869, cited in Allen Trelease, White Terror : The Ku Klux Klan Conspiracy and Southern Reconstruction (Baton Rouge: Louisiana State University, 1995), 253–54. 5. George M. Frederickson, The Black Image in the White Mind: The Debate on Afro-American Character and Destiny, 1817–1914 (1971; repr., Hanover, N.H.: Wesleyan University Press, 1987). 6. Ibid, 105. 7. W. E. B. Du Bois, The Souls of Black Folk (1903; repr., New York: Bantam, 1989), 3. 8. This is an abridged version of Langston Hughes’s “Black Clown.” Langston Hughes, The Collected Poems of Langston Hughes, edited by Arnold Rampersad (New York: Vintage, 1994). 9. For a review of the people, events, and history of the Harlem Renaissance see David Levering Lewis, When Harlem Was in Vogue (New York: Oxford University Press, 1979); Ann Douglass, Terrible Honesty: Mongrel Manhattan in the 1920s (New York: Noonday, 1995); Samuel A. Floyd Jr., ed., Black Music in the Harlem Renaissance: A Collection of Essays (Westport, Conn.: Greenwood, 1990); Cary D. Wintz, ed., The Emergence of the Harlem Renaissance (New York: Garland, 1996). 10. Karen Sotiropoulos, Staging Race: Black Performers in Turn of the Century America (Cambridge, Mass.: Harvard University Press, 2008), 99. 11. Donald Bogle, Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (New York: Continuum, 1992). 12. Robin R. Means Coleman, African American Viewers and the Black Situation Comedy: Situating Racial Humor (New York: Garland, 1998). 13. Ibid., 27. 14. John Straubaugh, Black Like You: Blackface, Whiteface, Insult & Imitation in American Popular Culture (London: Penguin, 2006), 57. 15. Ibid., 16. 16. Eric Lott, Love and Theft: Blackface, Minstrels, and the American Working Class (New York: Oxford University Press, 1993), 16. 17. Dale Cockrell, Demons of Disorder: Early Blackface Minstrels and their World (Cambridge: Cambridge University Press, 1997); Sam Dennison, Scandalize 200 Notes to Introduction My Name: Black Imagery in American Popular Music, Critical Studies in Black Life and Culture, vol. 13 (Bloomington: Indiana University Press, 1982); Mel Watkins, African American Humor: The Best Black Comedy from Slavery to Today (Chicago : Chicago Review Press, 2002); Mel Watkins, A History of African American Comedy: From Slavery to Chris Rock (Chicago: Lawrence Hill, 1994, 1999); and Michael Rogin, Black Face, White Noise: Jewish Immigrants in the Hollywood Melting Pot (Berkeley: University of California Press, 1996). 18. Frederick Douglass, My Bondage and My Freedom (New York: Miller, Orton & Mulligan, 1855), 97. 19. William L. Van Deburg, Slavery & Race in American Popular Culture (Madison: University of Wisconsin Press, 1984), xi. 20. Researchers such as Roger Abrahams, Jon Cruz, and Shane White and Graham White have pored over the institution of slavery from the perspective of the performing arts as a major dynamic in slaves’ daily lives and as a distinct aspect of African American culture that allowed some autonomy, family, and community life while simultaneously providing an outlet for expression. Robert Abrahams, Singing the Master: The Emergence of African-American Culture in the Plantation South (New York: Penguin, 1992); Jon Cruz, Culture on the Margin: The Black Spiritual and Rise of American Cultural Interpretation (Princeton, N.J.: Princeton University Press, 1999); Shane White and Graham White, The Sound of Slavery (Boston: Beacon, 2005). 21. Such works as Eugene D. Genovese’s Roll, Jordan, Roll (1972), Lawrence Levine’s Black Culture and Black Consciousness (1977), and Sterling Stuckey’s Slave Culture (1988); and, more recently, Peter Kolchin’s American Slavery (1993), Philip Morgan’s Slave Counterpart (1998), Dylan C. Penningroth’s The Claims of Kinfolk (2002), and Ira Berlin’s Generations of Captivity (2004) examine music and dance primarily as West African cultural continuances. Eugene D. Genovese, Roll, Jordan, Roll: The World Slaves Made (New York: Pantheon, 1972, 1974); Lawrence Levine, Black Culture and Black Consciousness: Afro American Folk Thought from Slavery to Freedom (Oxford: Oxford University Press, 1977); Sterling Stuckey, Slave Culture: Nationalist Theory and the Foundations of Black America (Oxford: Oxford University Press, 1988); Peter Kolchin, American Slavery 1619–1877 (New York: Hill and Wang, 1993); Philip Morgan, Slave Counterpart: Black Culture in the Eighteenth-Century Chesapeake and Lowcountry (Chapel Hill: University of North Carolina Press, 1998); Dylan C. Penningroth, The Claims of Kinfolk: African American Property and Community in Nineteenth-Century South (Chapel Hill: University of North Carolina Press, 2002); Ira Berlin, Generations of Captivity...