What Minstrelsy Means For American Identity

In my research of black minstrel troupes, it has become obvious that American pop culture is infused with references to minstrelsy. Although this influence becomes obvious when it is pointed out, I would like to propose a claim that might not be as readily accepted. Not only is minstrelsy heavily involved in American media, the influence of the minstrel show is a pillar of American art and media. In other words, elements of minstrelsy actually contribute to what it means for a piece of media to be “American”.

The American-ness of the minstrel show and minstrel influences can be seen in the perception of the minstrel show from audiences abroad. In my own mapping of black minstrel shows, I noticed very quickly that these shows were mostly plotted in the U.S. Perhaps this article posted in the Freeman newspaper might give more insight into why that is.

This article posted in the the Freeman in Indianapolis, Indiana on February 8, 1902 titled “The Negro Performer Abroad” explains how the minstrel show was not well received abroad. The article writes: “The English and Australians, by the way, are very austere and reserved as regards the manner of entertainment of histrons, therefore that which we here consider clever, they, over there regard indifferent and treat with almost heartless disdain. Little wonder then that early Negro minstrels met a cold reception and proved a ‘frost’”. 1

This indifferent reception shows us the extent to which American media and humor differentiated from that of Europeans and Australians. In other words, this humor is strictly American. 

We can see this inclusion of minstrel influences as well in other forms of media such as animation in more sinister, more blatant ways. For example, in Ammond’s book “Birth of an industry: blackface minstrelsy and the rise of American animation” he argues that certain characters, such as Mickey Mouse, carried “all (or many) of the markers of minstrelsy while rarely referring directly to the tradition itself”. 2 For example, in this video of the first Disney animation “Steamboat Willie”, we see that Mickey is whistling a minstrel tune and also wears the distinctive white gloves worn by minstrel performers.

 

http://https://www.youtube.com/watch?v=iep9EJ9H1aU&ab_channel=amandawelling

 

These examples of the influence of minstrelsy on American media show how truly interlaced it is with American identity. The inclusion of minstrelsy can really be seen as a staple of American identity. Although this fact is incredibly troubling, by understanding its implications, we can begin to uncover and become critical about the nature of American identity itself.

It was all continued with a mouse…

If you were to open the VHS vaults in many homes you would find many unique tapes.  There may be some home videos, possibly last year’s Christmas special that you recorded, but almost certainly there would be a Disney film or two (or 17).  The Walt Disney Company, originally known as The Disney Brothers Studio, was founded in 1923. Since its establishment, Disney has produced dozens of films that have become staples in the entertainment industry and, as Walt himself always said, “it was all started by a mouse.”

Mickey Mouse is arguably the most beloved Disney character and he got his debut performance in November of 1928 in the animated short Steamboat Willie. Steamboat Willie marks a turning point in the world of cartoon entertainment, as it was the first cartoon to use synchronized sound. This technological advance opened the door for music of the era to take a ride on a new venue and broaden its reach as a popular song of the day.

If you have not actually seen Steamboat Willie, I invite you to do so! It is truly a piece of Americana.

There are two musical selections that can be heard in Steamboat Willie: “Steamboat Bill” and “Turkey in the Straw.”

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“Steamboat Bill” cover: Obtained from Duke University, Digital Collections

 

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“Turkey in the Straw” cover: Obtained from University of California, Archive of Popular American Music

 

 

 

 

 

 

 

 

 

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Melody from “Steamboat Bill”: Obtained from Duke University, Digital Collections

“Steamboat Bill” is the first song we hear in the animated short. Originally written by the Leighton Brothers in 1910, “Steamboat Bill” gained immense popularity in the 1910s and 1920s to the point that the movie Steamboat Bill Jr. was named after the tune. So where exactly can we hear the tune of “Steamboat Bill” in Steamboat Willie? Undoubtably the most iconic element of the short is Mickey Mouse standing at the wheel and whistling away. That tune is actually the chorus of the popular song, “Steamboat Bill!” If you’re able, whistle the tune and you’ll see it is a perfect match!

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Screenshot of Steamboat Willie and the music for “Turkey in the Straw”

So what about “Turkey in the Straw?” Well our first encounter with the piece is actually in its physical form. After landing on the steamboat, Minnie Mouse drops her music which includes the famous “Turkey in the Straw” which is quick consumed by a goat. The goat is converted into a record player of sorts and a minstrel-esque performance begins, complete with a washboard and a set of pots and pans.

What is the importance here.  This course pushes us to look beyond the “song and dance” if you will, and search for historical context.  Mickey Mouse is a beloved character known to millions around the world who got his start in “minstrelsy”. Is he in “blackface”? Not exactly, but in examining his actions it is pretty clear that he is, in fact, performing in the minstrel tradition. “Turkey in the Straw” is a song historically know for being a part of minstrelsy and the instrumentation and exaggerated movements of his performance reinforce the tradition.