Date: Mon, 5 May 2008 17:02:18 -0400
From: "Bell, John" <john.bell-AT-uconn.edu>
To: <puptcrit-AT-puptcrit.org>
Subject: Re: [Puptcrit] Minstrel show history-puppets reflecting the human


I think Alan raises an important point: much of 19th-century popular
theater was specifically the performance of stereotypes, most of them
immigrants: blacks, Irish, Germans, Jews, Italians....  The early Marx
Brothers routines picked up on aspects of this, for example Chico Marx's
Italian character.  Race, ethnicity, and the question of what it meant
to be American were central issues of the day, so of course they were
played out on puppet, vaudeville, minstrel, and melodrama stages.

 jbell

-----Original Message-----
From: puptcrit-bounces-AT-puptcrit.org
[mailto:puptcrit-bounces-AT-puptcrit.org] On Behalf Of Alan Cook
Sent: Monday, May 05, 2008 12:48 PM
To: puptcrit-AT-puptcrit.org
Subject: [Puptcrit] Minstrel show history-puppets reflecting the human
stage

I am hopeful that the minstrel book in progress can contribute
understanding of a problem that is still with us apparently. Other
minority groups ALSO appeared as characters in minstrel shows---most
notably IRISH characters.

In my puppet collection are a black dance team from 1910 by the Mantell
Manikins of Everett, Washington and a white dance team from the Jewell
Manikins which may represent Irish dancers. Neither duo is guilty of
being grotesque or racist, but represented the talent of dancers. 

During one of the alumni week symposiums a few days ago, at Pomona
College, a younger Alum spoke of her own family's Irish roots, and that
for many other Americans, the Irish were not considered "white" during
the time frame when minstrel shows were popular.

Employers even posted signs saying "NO IRISH".

My dad was born in Redlands, California, and his birth certificate
listed his race as "Irish".

At the symposium, a professor of Black studies presented a visual slide
show with images of some pretty grotesque caricatures, along with milder
black images in the form of cookie jars, Aunt Jemima or Cream of Wheat
box labels, and what have you, plus scenes from early movies which ran
the gamut.

Many in the audience are aware that the first feature talking picture
was THE JAZZ SINGER starring Al Jolson doing his blackface "Mammy" song.
In my childhood, talent shows had scads of child imitators of Al Jolson.
In the 1940s, summer camp entertainment books still had scripts for
minstrel shows, even though the camp I went to did not use that section
of the book---to us it seemed out-dated and other routines in the book
seemed more interesting. But amateur groups in small towns still did
minstrel shows into the 1940s, and even later in rarer cases. It is
aptly called "cultural lag".

I'm reminded that The Los Angeles Municipal Art Gallery in 1976 had an
art exhibit assembled in honor of Dr Martin Luther King, Jr .

A group of Black artists showed their paintings and each artist was to
select work by one non-Black artist as well, to participate. What did
they serve at Opening Night Reception?

Would you believe WATERMELON?

One of the Black artists made that selection for the refreshment table,
thinking "it would be funny".

The exhibit which preceded ths event was my exhibit of 796 puppets in
the 10,000 square foot gallery, thus I am very aware.

So at my campus, a song with lyrics having nothing to do with race, is
being censored because it was first sung as the finale of a minstrel
show. And for the next 88 years it was NOT sung as part of minstrel
shows. That student performance in 1909-1910 could just as easily have
some other stage vehicle---but the show gave an opportunity (even an
excuse for a new song to be presented).

Baby Jesus was born in a manger, but I can't think of a single cathedral
being built in manger style. Many meaningful things have HUMBLE
beginnings.

The Black Studies professor who showed us those images  constantly
referred to the ironies in history, the multiple levels of meaning as it
were. He also pointed out the dangers of taking just part of historic
text as a pretext (something Rush Limbaugh does every day in my view),
thus ignorng the whole picture.

Speakling of ironies, much of history is not black & white, but shades
of gray---a whole spectrum of shades of gray. And white people are not
white, but pinkish or tannish or pale, and Black people are not black
but range from deep brown to lighter than many white people. My
African-American  next door neighbor's kids, grandkids and great
grandkids come in a whole range of shades. And my late friend , noted
puppeteer/actor, artist Ralph Chesse of Louisiana & California looked as
white as any, but his birth certificate said "negro" or black. So again,
many things are not just a matter of black & white.

Like it or not, we are inter-related, and that's OK.

The complaint about the Alma Mater is straining at gnats.

Alan Cook


-----Original Message-----
From: Bell, John
Sent: Monday, May 5, 2008 8:38 AM
To: puptcrit-AT-puptcrit.org
Subject: Re: [Puptcrit] An Alumni Week surprise with puppet protest
reaction

I agree that censorship is wrong, and that a sense of humor is
essential.  It's also very easy to misunderstand or to overreact to
charged cultural situations.

 

However, I think it's still worth remembering the legacies of racism in
our culture that are deeply ingrained in popular entertainment forms,
and that still emerge from time to time.  

 

The largest single element of the Detroit Institute of Art's puppet
collection is blackface minstrel puppets, and these were used by white
puppeteers to represent blacks on the American stage.  I think the
profound effects of minstrelsy have not yet been fully analyzed or
understood.

 

Eric Lott's book Love and Theft does a great job of showing the
complications and contradictions of minstrelsy, as in fact a convoluted
expression of white admiration for black culture (I am
oversimplifying...).  But I think it's worth remembering that all this
interplay did not take place on a level playing field-whites always had
(and have) more power, so it was always a bit easier for whites to mimic
and satirize blacks than the other way around.  

 

Excuse me for not remembering who is doing a dissertation right now on
minstrelsy and American puppet theater; when that comes out I look
forward to reading it!!

 

Dr. John T. Bell

Director

Ballard Institute and Museum of Puppetry

University of Connecticut

6 Bourn Place Unit 5212

Storrs, Connecticut  06269-5212

office: 860 486 0806

cell: 617 599 3250

www.bimp.uconn.edu

 

-----Original Message-----
From: puptcrit-bounces-AT-puptcrit.org
[mailto:puptcrit-bounces-AT-puptcrit.org] On Behalf Of Alan Cook
Sent: Monday, May 05, 2008 11:25 AM
To: puptcrit-AT-puptcrit.org
Subject: Re: [Puptcrit] An Alumni Week surprise with puppet protest
reaction

 

No matter which minority or majority group, there will always be
"professional victims" who usually don't yet really know much about
history---especially that which pertains to themselves---. They would be
more effective "pulling themselves up by their own bootstraps" (getting
their own act together and accomplishing something positive instead of
the easier negative complaining). 

 

When I was in 7th grade, I did  a book report on an autobiography of
George Washington Carver who was a proponent of self improvement through
education. 

 

For me he was a role model for ALL of us, an inspiration for those
teachers who made a difference in the lives of students and as a result
also enlightened the whole country.

 

I think he was an influence on the development of my puppet collection,
and its role in educating the public about the diversity of world
puppetry, the puppets' relation to history (history in a smaller scale),
and an example of individual puppeteers somehow managing marvelous work
against sometimes impossible odds.. (insufficient time, money,
preparation space, you name it). 

 

>From my observation, many puppeteers had to pull ourselves up by our
own bootstraps. Just one example in the 1930s was the formation of
Puppeteers of America, where puppeteers came together to share knowledge
(EDUCATION) and provide mutual support and connection.

 

As a kid, I was privileged to meet Paul Robeson and Marian Anderson
backstage at the Pasadena Civic Auditorium after concerts and even got
their autographs which both patiently signed for many admirers. Both of
these amazing ARTISTS worked hard and successfully fought ignorance
through SONGS, oftentimes in THEATERS.

 

The controversy at my alma mater strikes me as a slap in the face of the
arts. Understanding does NOT come from censorship of the arts.

 

Alan Cook

 

 

-----Original Message-----

From: Jon Green

Sent: Monday, May 5, 2008 4:32 AM

To: puptcrit-AT-puptcrit.org

Subject: Re: [Puptcrit] An Alumni Week surprise with puppet protest
reaction

 

What I hate most about this the plain stupidity.  First of all  

Minstrel Shows were originally an entertainment of Negroes making fun  

of Caucasians.  This form of Minstrel Show never ceased.; so, the  

racism goes both ways.  Second, the Minstrel Show was always a way for  

those without power to make fun of those with power. The mask of black  

face allowed one to say that what could not be said otherwise. This is  

why it was a popular entertainment for women's groups and workers.   

Minstrel Shows are really directly related to Drag Shows,( which, of  

course, are routinely criticized for misogyny.)

 

One of these days, I am going to do a puppet variety show that is  

nothing but the "politically incorrect"  ethnic humor of the early  

20th century.  It would be interesting if people would be just as  

outraged by the Irish and German ethnic humor.  An then there is all  

the "low" Jewish humor.

 

Jon

Webb School, Claremont, CA

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