Blackface: differenze tra le versioni

Versione delle 18:01, 26 set 2009

Versione delle 18:36, 26 set 2009

Riga 24:

[[File:BlackfaceMinstrelsPostcard.jpg|thumb|left|Questa cartolina, pubblicata intorno al 1908, mostra un duo minstrel di bianchi. Entrambi portano la parrucca e quello a sinistra è in Blackface.]]

Rice traveledgirò thegli U.S.,Stati Uniti recitando sottocon il [[nome d'arte]] di "Daddy Jim Crow". Il nome ''Jim Crow'' later became attached to [[Jim Crow law|statutes]] that codified the reinstitution of [[Racial segregation in the United States|segregation]] e [[racial discrimination|discrimination]] dopo [[Reconstruction era of the United States|Reconstruction]].<ref>Ronald L. F. Davis, [http://www.jimcrowhistory.org/history/creating2.htm Creating Jim Crow], ''The History of Jim Crow'' online, New York Life. Accessed 31 January 2008.</ref>

Negli Anni '30 e nei primi Anni '40 dell'800, la recitazione Blackface mescolava la parodia con canzoni comiche e danze agitate. Inizialmente, Rice e i suoi colleghi si esibirono solo in locali abbastanza malfamati, ma quando il Blackface divenne popoplare, ottennero di esibirsi negli ''[[entr'acte]]'' di spettacoli teatrali frequentati dall'alta società. Vennero sviluppati dei personaggi Blackface stereotipati: il buffone, il pigro, il superstizioso, il codardo, il lascivo, personaggi che rubavano, mentivano patologicamente e parlavano storpiando l'Inglese. I primi intrattenitori Blackface erano tutti maschi, so cross-dressing white men also played black women who were often portrayed either as unappealingly and grotesquely mannish; in the matronly, [[mammy archetype|mammy]] mold; or highly sexually provocative. The 1830s American stage, where Blackface first rose to prominence featured similarly comic [[stereotype]]s of the clever Yankee and the larger-than-life Frontiersman;<ref>{{Harvnb|Strausbaugh|2006|p=27}}</ref> the late 19th- and early 20th-century American and British stage where it last prospered<ref name="autogenerated1">{{Harvnb|Strausbaugh|2006|p=130–131}}</ref> featured many other, mostly [[ethnicity|ethnically]]-based, comic stereotypes: conniving, venal [[Jew]]s;<ref>Jody Rosen (2006), album notes to ''Jewface'', Reboot Stereophonic CD RSR006</ref><ref name=Strausbaugh-131>{{Harvnb|Strausbaugh|2006|p=131}}</ref> drunken brawling [[Ireland|Irishmen]] with [[wikt:blarney|blarney]] at the ready;<ref>Michael C. O'Neill, [http://www.eoneill.com/library/laconics/1/1o.htm O'Neill's Ireland: Old Sod or Blarney Bog?], ''Laconics'' (eOneill.com), 2006. Accessed online 2 February 2008.</ref><ref>[http://findarticles.com/p/articles/mi_qn4158/is_19960102/ai_n9632177 Pat, Paddy and Teague], ''The Independent'' (London), January 2, 1996. Accessed online (at findarticles.com) 2 February 2008.</ref><ref name=Strausbaugh-131 /> oily Italians;<ref name=Strausbaugh-131 /> stodgy Germans;<ref name=Strausbaugh-131 /> and gullible rural rubes.<ref name=Strausbaugh-131 />

Riga 115:

</ref>

==Iconografia "Darky" iconography==

[[Image:Golliwogg1.jpg|right|thumb|[[Florence Kate Upton]]'s "[[Golliwogg]]" in 1895, described as "a horrid sight, the blackest gnome." Note the formal minstrel attire of the person sitting in the chair.]]

Riga 124:

[[Image:1900s SM Coon Coon Coon.jpg|thumb|left|"Darky" iconography frequently adorned the covers of sheet music from the 1870s through the 1940s, but virtually disappeared by the 1950s.]]U.S. cartoons from the 1930s and 1940s often featured characters in Blackface gags as well as other racial and [[ethnic group|ethnic]] [[caricatures]]. Blackface was one of the influences in the development of characters such as [[Mickey Mouse#First gloved appearance|Mickey Mouse]].<ref>Sacks and Sacks 158.</ref> The [[United Artists]] 1933 release "[[Mickey's Mellerdrammer]]"—the name a corruption of "[[melodrama]]" thought to harken back to the earliest minstrel shows—was a film short based on a production of ''Uncle Tom's Cabin'' by the Disney characters. Mickey, of course, was already black, but the advertising poster for the film shows Mickey with exaggerated, orange lips; bushy, white sidewhiskers; and his now trademark white gloves.<ref>[http://www.hakes.com/images.asp?ItemNo=63253&ImageNo=001 "Mickey's Mellerdrammer.]" Linen-mounted movie poster. Hake's Americana & Collectibles, sales site. Retrieved 01-14-2008.</ref>

[[Image:Picaninny Freeze.jpg|thumb|right|Reproduction of an old, tin sign advertising Picaninny Freeze, a frozen treat]] In the U.S., by the 1950s, the [[NAACP]] had begun calling attention to such portrayals of African Americans and mounted a campaign to put an end to Blackface performances and depictions. For decades, darky images had been seen in the branding of everyday products and commodities such as ''[[Pickaninny|Picaninny]] Freeze'', the [[Coon Chicken Inn]]<ref>[http://hollywood.pdx.edu/html/coon_chicken_inn.html Coon Chicken Inn] Photos and history of the restaurant chain.</ref> [[restaurant chain]] and Darkie toothpaste (renamed Darlie) and Blackman mops in Thailand. With the eventual successes of the modern day [[Civil Rights Movement]], such blatantly racist branding practices ended in the U.S., and Blackface became an American [[taboo]].

==Manifestazioni moderne==

==Modern-day manifestations==

{{Original research|date=March 2008}}

Over time, Blackface and darky iconography became artistic and stylistic devices associated with [[art deco]] and the [[1920s|Jazz Age]]. By the 1950s and [[1960s|'60s]], particularly in Europe, where it was more widely tolerated, Blackface became a kind of ''[[wiktionary:outré|outré]]'', [[camp (style)|camp]] convention in some artistic circles. ''[[The Black and White Minstrel Show]]'' was a popular [[United Kingdom|British]] musical [[variety show]] that featured Blackface performers, and remained on British television until 1978.<ref>[http://news.bbc.co.uk/1/hi/entertainment/2223239.stm Minstrels founder Mitchell dies], BBC, 29 August 2002. Accessed 2 February 2008.</ref> Actors and dancers in Blackface appeared in [[music videos]] such [[Grace Jones]]'s "Slave to the Rhythm" (1980, also part of her touring piece ''A One Man Show'')<ref>Miriam Kershaw, [http://findarticles.com/p/articles/mi_m0425/is_n4_v56/ai_20544718/pg_1 Postcolonialism and androgyny: the performance art of Grace Jones], ''Art Journal'', Winter 1997, [http://findarticles.com/p/articles/mi_m0425/is_n4_v56/ai_20544718/pg_5 pag. 5]. Accessed online 17 July 2008 at FindArticles.com.</ref> and [[Taco (musician)|Taco]]'s "[[Puttin' on the Ritz]]" (1984).{{Fact|date=February 2008}}

Riga 135 ⟶ 134:

The influence of Blackface on branding and advertising, as well as on perceptions and portrayals of blacks, generally, can be found worldwide. Black and brown products, particularly, such as [[licorice]] and [[chocolate]], remain commodities most frequently paired with darky iconography.{{Fact|date=January 2008}}

===Netherlands' and Flanders'Gli Zwarte Piet olandesi e fiamminghi===

{{main|Zwarte Piet}}

[[Image:Zwartepiet2.JPG|thumb|right|A white [[Netherlands|Dutch]] woman in [[Zwarte Piet]] costume.]]

InNel [[Netherlands|Dutchfolklore]] and [[FlandersOlanda|Flemisholandese]] and [[folkloreFiandre|fiammingo]], ''[[Zwarte Piet]]'' — "BlackPierino Peteil Nero"—is a— servantè ofil domestico di ''[[Sinterklaas]]'' (Saint[[Santa Nicholas)Klaus]]. The addition of Zwarte Piet to the Saint Nicholas (Sinterklaas) celebration is thought to have originated from a custom on the Dutch islands in the [[Waddenzee]]. Once a year young men would cover their faces in ashes and terrorize the streets. This blackening of the face was thought to make the men look like the devil, whom they expected to have a black face. In the past, Zwarte Piet was more identified with the chastising of bad children than the rewarding of the good, but both characters have softened since the mid-19th century, and today the [[5 December]] feast of Saint Nicholas is mainly an occasion for giving gifts to children.<ref>{{cite web| last =Booij| first =Frits| title=Opzoek naar Zwarte Piet (in search of Zwarte Piet)| url=http://www.sint.nl/html/history/lezing.html| format = HTML| accessdate=2007-11-29}}</ref> Zwarte Piet inherited many of the classic darky icons, contemporaneous with the spread of darky iconography.<ref>{{cite web| title =Sinterklaas:Illustraties| date= 1814-1948| url =http://www.kb.nl/uitgelicht/kinderboeken/sinterklaas/sinterklaas-ill.html| format = HTML, JPG| accessdate =2007-11-29}}</ref> To this day, holiday revellers in the [[Netherlands]] blacken their faces, wear [[afro]] wigs and bright red lipstick, and walk the streets throwing [[candy]] to passers-by.

Accepted without question in the past within a ethnically homogeneous nation, today there is some controversy regarding Zwarte Piet. Most people continue to enjoy this as a cherished tradition and look forward to his annual appearance, whilst others, especially overseas visitors, see him as a racist caricature<ref name="Survivingzp">{{cite magazine|title=Surviving Zwarte Piet - a Black mother in the Netherlands copes with a racist institution in Dutch culture, Essence|date=December 1997}}</ref> and fear it shapes Dutch children's perceptions of black people.<ref name="Survivingzp" /><ref>[http://www.expatica.com/nl/life_in/feature/annual-zwarte-piet-debate-2394.html Annual Zwarte Piet debate - Expatica<!-- Bot generated title -->]</ref> As a result of the allegations of racism, some of the Dutch have tried replacing Zwarte Piet's Blackface makeup with face paint in alternative colors such as green or purple. This practice, however, was widely ridiculed and has since disappeared.<ref>{{nl icon}} [http://www.telegraaf.nl/binnenland/2528554/Piet_weer_zwart.html Piet weer zwart] ("Pete black again"), ''De Telegraaf'', November 15, 2007. Accessed online February 17, 2008.</ref>

==="Coons" ofdi CapeCittà Towndel Capo===

Inspired by Blackface minstrels who visited [[CapeCittà Towndel Capo]], [[SouthSud Africa]], innel 1848, former [[Javanese people|Javanese]] and [[Malaysia]]n slaves took up the minstrel tradition, holding emancipation celebrations which consisted of music, dancing and parades. In the African-American [[cakewalk]] tradition, their songs often parodied their former masters and the privileged, white [[social class|class]]. Such celebrations eventually became consolidated into an annual, year-end event known as the ''Cape [[Coon Carnival]]''.{{Fact|date=January 2008}}

Today, carnival minstrels are mostly [[Coloured]] ("mixed race"), [[Afrikaans]]-speaking revellers. Often in a pared-down style of Blackface which exaggerates only the lips, they parade down the streets of the city in colorful costumes, in a celebration of [[Creole peoples|Creole]] culture. Participants also pay homage to the carnival's African-American roots, playing [[Negro spirituals]] and [[jazz]] featuring traditional [[Dixieland]] jazz instruments, including [[Brass instrument|horns]], [[banjo]]s, and [[tambourine]]s.<ref>[http://web.archive.org/web/20051027061922/http://www.africapetours.com/Coon+Carnival.htm Coon Carnival Cape Town ]</ref>

Riga 151 ⟶ 150:

===Gli Stati Uniti===

Il "darky", o il "coon", archetipo del Blackface, rimane un persistente filo conduttore nella cultura americana. I [[CartoonCartoni animati|Animationcartoni animati]] utilizingche darkyutilizzavano iconographyun'iconografia aired"darky" onvenivano U.S.trasmessi televisionregolarmente routinelydalle astelevisioni latedegli asStati theUniti mid-1990s,fino andalla stillmetà candegli beAnni seen'90, ine specialtypossono timetuttora slotsessere onvisti suchsu alcuni [[televisionEmittente networktelevisiva|networksnetwork]] ascome [[Turner Classic Movies|TCM]].

In 1936 when the lead in touring company of [[OrsenOrson Welles]]' Voodoo Macbeth (Maurice Evans) fell ill, Welles stepped temporary into the part and played the role in blackface.<ref>{{cite book|last=Callow|first=Simon |title=Orson Welles: The Road to Xanadu|publisher=Penguin|date=1995|pages=145|isbn=0-670-86722-5}}</ref>

Un esempio della passione nella cultura americana per le performance ai limiti del razzismo è dimostrata dal popolare duo [[Amos 'n' Andy]], personaggi interpretati da due bianchi che si esibiscono in Blackface. They gradually stripped off the Blackface makeup during live 1929 performances while continuing to talk in dialect. This fascination with color boundaries had been well-established since the beginning of the century, as it also had been before the Civil War.<ref name=stowe>{{cite book |last= Stowe |first= David W. |title= Swing Changes: Big-Band Jazz in New Deal America |publisher= Harvard University Press |___location=Cambridge|year= 1994 |isbn= 0-674-85825-5 |page =131&ndash;132}}</ref>

Riga 172 ⟶ 171:

In anni recenti, sono accaduti vari "incidents" Blackface incendiari, in cui studenti di [[college]] bianchi hanno indossato abiti Blackface in probabilmente innocenti ma inopportune gags, oppure all'interno di un riconosciuto clima di razzismo e intolleranza nei campus. Questi incidenti accadono d'abitudine nel periodo di [[Halloween]], in cui gli studenti spesso recuperano gli stereotipi razzisti.<ref>Bortin, Jon.[http://www.dailycardinal.com/article/802 "Colorado College learns lesson after Blackface incident]." ''The Daily Cardinal'', November 27, 2007. Retrieved on 11-27-2007.</ref><ref>Johnson, Sophie.[http://whitmanpioneer.wordpress.com/2006/10/26/%E2%80%98blackface%E2%80%99-incident-ignites-campus/ "‘Blackface' incident ignites campus]." ''Whitman College Pioneer'', October 26, 2006. Retrieved on 11-27-2007.</ref><ref>Walter, Vic.[http://blogs.abcnews.com/theblotter/2006/11/gates_unfinishe.html "Gates' Unfinished Business: Racism at Texas A&M]." ABC News, The Blotter, November 10, 2006. Retrieved on 11-27-2007.</ref><ref>Editorial. [http://media.www.dailyillini.com/media/storage/paper736/news/2007/10/31/Editorials/Blackface.A.Black.Mark.For.Every.Student-3067335.shtml "Blackface a Black Mark for Every Student] ''The Daily Illini'', October 31, 2007. Retrieved on 12-2-07.</ref><ref>Connolly, Joe.[http://media.www.dailyorange.com/media/storage/paper522/news/2003/11/14/News/Blackface.Makes.Its.Way.To.College.Campuses-558345.shtml "Blackface Makes Its Way To College Campuses]." ''The Daily Orange'', November 11, 2003. Retrieved on 11-26-07.</ref>

InNel Novembernovembre del 2005, controversyesplose una eruptedpolemica whenquando Africanil Americangiornalista journalistafroamericano [[Steve Gilliard]] postedinviò auna photographfotografia onal hissuo [[blog]]. TheL'immagine imageera wasquella ofdel blackGovernatore [[RepublicanPartito PartyRepubblicano (UnitedStati StatesUniti)|Republicanrepubblicano]] del [[Maryland]] [[lieutenant governor]] [[Michael S. Steele]], thenallora acandidato candidate foral [[U.S.Senato degli Stati SenateUniti]]. ItEra hadstata beenritoccata doctoredcon tofolte includesopracciglia bushy,bianche whitee eyebrowsgrandi andlabbra big, red lipsrosse. TheLa captiondidascalia read,diceva: "I's simple [[Sambo (ethnic slur)|Sambo]] and I's running for the big house." Gilliard defendeddifese the imagel'immagine, commentingcommentando thatche theil politically conservativeconservatore Steele hasaveva "refusedrifiutato todi standprendere uple forparti del hisproprio peoplepopolo."<ref>{{cite web|url=http://www.knoxstudio.com/shns/story.cfm?pk=SAMBOBLOG-10-27-05&cat=WW|title=Virginia governor's candidate pulls ads after 'Sambo' attack|author=James W. Brosnan|publisher=Scripps Howard News Service|date=2005-10-27|accessdate=2008-01-31}}</ref>

[[File:Ronson figural lighter.jpg|thumb|right|This elaborate, figural [[Art deco]] [[Ronson's Lighters|Ronson]] tabletop cigarette lighter, manufactured in 1936, is an example of an everyday consumer item rendered in classic darky iconographical style. It sold on [[eBay]] in June 2006 for $2,225.{{Fact|date=January 2008}}]]

In November 2005, controversy erupted when African American journalist [[Steve Gilliard]] posted a photograph on his [[blog]]. The image was of black [[Republican Party (United States)|Republican]] [[Maryland]] [[lieutenant governor]] [[Michael S. Steele]], then a candidate for [[U.S. Senate]]. It had been doctored to include bushy, white eyebrows and big, red lips. The caption read, "I's simple [[Sambo (ethnic slur)|Sambo]] and I's running for the big house." Gilliard defended the image, commenting that the politically conservative Steele has "refused to stand up for his people."<ref>{{cite web|url=http://www.knoxstudio.com/shns/story.cfm?pk=SAMBOBLOG-10-27-05&cat=WW|title=Virginia governor's candidate pulls ads after 'Sambo' attack|author=James W. Brosnan|publisher=Scripps Howard News Service|date=2005-10-27|accessdate=2008-01-31}}</ref>

Il film del 2008 ''[[Tropic Thunder]]'' è un notevole esempio di Blackface: non solo un attore bianco ritraeva un personaggio nero stereotipato per praticamente l'intera durata del film, ma l'attore in questione, [[Robert Downey, Jr.]], fu nominato all' [[Oscar al miglior attore non protagonista|Oscar]] per la propria parte.

Riga 206 ⟶ 203:

The international imprint of African-American culture is pronounced in its depth and breadth, in indigenous expressions, as well as in myriad, blatantly mimetic and subtler, more attenuated forms.<ref>Joel Hoard, [http://www.michigandaily.com/content/joel-hoard-fa-shizzle-dizzle-its-cultural-appropriation-izzle "Fa shizzle dizzle, it's cultural appropriation-izzle"], ''The Michigan Daily'', April 19, 2004. Retrieved on 12-18-2008.</ref> This "browning", à la [[Richard Rodriguez]], of American and world popular culture began with Blackface minstrelsy.<ref name="autogenerated6" /> It is a continuum of pervasive African-American influence which has many prominent manifestations today, among them the ubiquity of the [[Cool (aesthetic)|cool aesthetic]]<ref>Southgate, Nick.[http://www.emeraldinsight.com/Insight/viewContentItem.do?contentType=Article&hdAction=lnkhtml&contentId=854656 "Coolhunting, account planning and the ancient cool of Aristotle]." ''Marketing Intelligence and Planning'', Vol. 21, Issue 7, pp. 453-461, 2003. Citation for the ubiquity. Retrieved on 03-02-2007.</ref><ref>Robert Farris Thompson, "[http://links.jstor.org/sici?sici=0001-9933(197323)7%3A1%3C40%3AAAOTC%3E2.0.CO%3B2-5 An Aesthetic of the Cool]", African Arts, Vol. 7, No. 1 (Autumn, 1973), pag. 40-43, 64-67, 89-91. Citation for African (more specifically, Yoruba) origin of "cool".</ref> and [[hip hop culture]].<ref>MacBroom, Patricia. "[http://www.berkeley.edu/news/berkeleyan/2000/04/12/hiphop.html Rap Locally, Rhyme Globally: Hip-Hop Culture Becomes a World-Wide Language for Youth Resistance, According to Course]." News, ''Berkeleyan''. [[2000-05-02]]. Retrieved on [[2006-09-27]].</ref>

==Pittura facciale e imitazione etnica==

==Face paint and ethnic impersonation==

Other types of performances involving ethnic impersonation are ''[[yellowface]]'', in which performers adopt Asian identities; ''brownface'', for [[Indies|East Indian]] or non-white [[Latino]]; and ''redface'', for [[Indigenous peoples of the Americas|Native Americans]]. ''Whiteface'', or ''paleface'', is sometimes used to describe non-white actors performing white parts (for example, in the film ''[[White Chicks]]''), although it more commonly describes the [[clown]] or [[mime artist|mime]] traditions of white makeup.{{Fact|date=January 2008}}. Actors such as [[Dooley Wilson]], famous for the role of Sam the piano player in ''[[Casablanca (film)|Casablanca]]'', earned his stage name "Dooley" from performing in whiteface as an Irishman.<ref>Bill Takacs, [http://www.imdb.com/name/nm0933330/bio Biography for Dooley Wilson], IMDB. Accessed 3 February 2008.</ref>

Riga 223 ⟶ 220:

</ref>

==InVedere comicsanche==

In one particular [[Tintin]] comic, the hero is shown made up in Blackface in order to avoid identification by enemies. It is a matter of inquiry how such an exaggerated disguise could pass as authentic.

{{section-expand}}

==See also==

*[[Minstrel show]]

*[[Blackface (Fender)]]

Riga 242 ⟶ 235:

*[[Darlie]]

===Compare=Note==

*[[Border Morris]], a traditional English male folk dance tradition from the borders of [[England]] and [[Wales]]

==Notes==

{{reflist|2}}

==ReferencesRiferimenti==

* {{cite web|author=Armstron-De Vreeze, Pamela|year=1997|url=http://www.findarticles.com/p/articles/mi_m1264/is_n8_v28/ai_20039487|archiveurl=http://web.archive.org/web/20050516045544/http://www.findarticles.com/p/articles/mi_m1264/is_n8_v28/ai_20039487|archivedate=2005-05-16|title="Surviving Zwarte Piet — a Black mother in the Netherlands copes with a racist institution in Dutch culture"|publisher=''[[Essence magazine|Essence]]'' magazine|accessdate=2005-11-15}}

* {{cite book|author=[[Langston Hughes|Hughes, Langston]] and Meltzer, Milton|year=1967|title=Black Magic: A Pictorial History of Black Entertainers in America| ___location=New York | publisher=Bonanza Books|isbn=0-306-80406-9}}

Riga 277 ⟶ 267:

* {{cite book|first=Mel|last=Watkins|year=1999|title=On the Real Side: A History of African American Comedy from Slavery to Chris Rock| ___location=Chicago, Illinois | publisher=Lawrence Hill Books|isbn=1-55652-351-3}}

==FurtherUlteriori readingletture==

* {{cite book|author=Cockrell, Dale|year=1997|title=Demons of Disorder: Early Blackface Minstrels and their World|publisher=Cambridge Studies in American Theatre and Drama|isbn=0-521-56828-5}}

* {{cite book|first=David|last=Levinthal|year=1999|title=Blackface|publisher=Arena|isbn=1-892041-06-5}}

Riga 283 ⟶ 273:

* {{cite book|first=Michael|last=Rogin|year=1998|title=Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot|publisher=University of California Press|isbn=0-520-21380-7}}

==ExternalLink linksesterni==

{{commonscat|Blackface minstrelsy}}

===GeneralGenerali===

* [http://web.archive.org/web/20040622210610/http://www.sanztrust.org.nz/archives/coon.html "Auckland gets its own Cape Coon troupe" from the SANZ Charitable Trust]

* [http://www.authentichistory.com/diversity/ Blackface and other historic racial images from the Authentic History Center]

Riga 301 ⟶ 291:

*[http://www.ferris.edu/news/jimcrow/question/jan05/ "Who is Black Peter?" from [[Ferris State University]]]

* [http://www.baobabconections.org/artikel.php?id=549 Zwarte Piet film by Adwa Foundation, Rotterdam, and the Global Afrikan Congress]

*[http://www.zwartepieten.com/ Zwarte Piet] {{nl icon}}

[[Category:Cultura degli Stati Uniti]]