LEADER 04440cam 2200613 i 4500001 ssj0001266329 003 WaSeSS 005 20230512140707.0 006 m d 007 cr n 008 131106s2014 ilua sb s001 0 eng d 010 2013032131 020 9780252038259 (hardback) 020 9780252079832 (paperback) 020 9780252096112 (e-book) 035 (WaSeSS)ssj0001266329 040 DLC |beng |cDLC |dDLC |dWaSeSS 042 pcc 043 n-us--- 049 EREENEHH 050 00 E443 |b.T49 2014 082 00 390/.250973 |223 084 SOC001000PER003000HIS036040 |2bisacsh 100 1 Thompson, Katrina Dyonne. |=^A1177178 245 10 Ring shout, wheel about |h[electronic resource] : |bthe racial politics of music and dance in North American slavery / |cKatrina Dyonne Thompson. 260 Urbana : |bUniversity of Illinois Press, |c2014. 300 x, 242 pages : |billustrations ; |c23 cm 504 Includes bibliographical references and index. 505 0 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-- 506 Available only to authorized users. 520 "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"-- |cProvided by publisher. 538 Mode of access: World Wide Web 650 0 Enslaved persons |zSouthern States |xMusic |xHistory aqnd criticism. |=^A630862 650 0 African Americans |zSouthern States |xMusic |xHistory and criticism. |=^A35370 650 0 Enslaved persons |zUnited States |xSocial life and customs. |=^A482797 650 0 Race in the theater |zUnited States |xHistory. |=^A915642 650 0 Theater and society |zUnited States |xHistory. |=^A1019721 650 0 African American dance |xHistory. |=^A378892 650 0 Slavery |zUnited States |xJustification. |=^A33135 650 0 Plantation life |zUnited States. |=^A41279 650 0 Racism in popular culture |zUnited States |xHistory. |=^A417475 650 7 SOCIAL SCIENCE / Ethnic Studies / African American Studies. |2bisacsh 650 7 PERFORMING ARTS / Dance / General. |2bisacsh 650 7 HISTORY / United States / 19th Century. |2bisacsh 655 0 Electronic books. |=^A491897 856 40 |zFull text available from Ebook Central - Academic Complete |uhttps://ebookcentral.proquest.com/lib/eastcarolina/detail.action?docID=3414368 949 CLICK ON WEB ADDRESS |wASIS |hJOYNER188 949 CLICK ON WEB ADDRESS |wASIS |hHSL77 949 CLICK ON WEB ADDRESS |wASIS |hJMUSIC60 596 1 3 4 998 4261918