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03830aam a22005658i 4500 001 6626E0A6BEE311E3B118CA8BDAD10320 003 SILO 005 20140408010112 008 131106s2014 ilua b s001 0 eng 010 $a 2013032131 020 $a 0252079833 (paperback) 020 $a 9780252079832 (paperback) 020 $a 0252038258 (hardback) 020 $a 9780252038259 (hardback) 035 $a (OCoLC)861676493 040 $a DLC $b eng $e rda $c DLC $d BTCTA $d BDX $d YDXCP $d IUL $d MEU $d UKMGB $d SILO 042 $a pcc 043 $a n-us--- 050 00 $a E443 $b .T49 2014 082 00 $a 390/.250973 $2 23 084 $a HIS036040 $a PER003000 $a HIS036040 $2 bisacsh 100 1 $a Thompson, Katrina Dyonne, $e author. 245 10 $a Ring Shout, Wheel About : $b the Racial Politics of Music and Dance in North American Slavery / $c Katrina Dyonne Thompson. 263 $a 1403 264 1 $a Urbana, IL. : $b University of Illinois Press, $c [2014] 300 $a x, 242 pages : $b illustrations ; $c 23 cm 546 $a Text in English. 504 $a Includes bibliographical references and index. 505 0 $a The script : "Africa was but a blank canvas for Europe's imagination" -- Casting : "They sang their home-songs, and danced, each with his free foot slapping the deck" -- Onstage : "Dance you damned niggers, dance" -- Backstage : "White folks do as they please, and the darkies do as they can" -- Advertisement : "Dancing through the Streets and act lively" -- Same script, different actors : "Eb'ry time I weel about, I jump Jim Crow" -- Epilogue : the show must go on. 520 $a "In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved. As Thompson shows, however, blacks' "backstage" use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion. Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots"-- $c Provided by publisher. 650 0 $a Slaves $z Southern States $v Songs and music. 650 0 $a Slaves $z United States $x Social life and customs. 650 0 $a Race in the theater $z United States $x History. 650 0 $a Theater and society $z United States $x History. 650 0 $a African American dance $x History. 650 0 $a Slavery $z United States $x Justification. 650 0 $a Plantation life $z United States. 650 0 $a Racism in popular culture $z United States $x History. 650 7 $a SOCIAL SCIENCE / Ethnic Studies / African American Studies. $2 bisacsh 650 7 $a PERFORMING ARTS / Dance / General. $2 bisacsh 650 7 $a HISTORY / United States / 19th Century. $2 bisacsh 941 $a 7 952 $l OVUX522 $d 20231021025945.0 952 $l PLAX964 $d 20230718091728.0 952 $l GAAX314 $d 20161012010342.0 952 $l USUX851 $d 20160826092444.0 952 $l OIAX792 $d 20160331011513.0 952 $l UXAX826 $d 20150624013329.0 952 $l UNUX074 $d 20150520011743.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=6626E0A6BEE311E3B118CA8BDAD10320Initiate Another SILO Locator Search