The truth behind Minstrel shows

Before we dive into Minstrel shows and what they exactly are, we should take a look at the history of the word “Minstrel” and its multiple meanings. I think it is important that we educate ourselves and others and learn the true history behind these shows and their meaning. In Hebrew, a minstrel is a player of a stringed instrument. There are references in the Book of Samuel of David as a minstrel playing for Saul.1

A little bit later, we find that a minstrel is a medieval poet and musician who sang or recited while accompanying himself on a stringed instrument, either as a member of a noble household or as an itinerant troubadour. As you can see, there are many different definitions of minstrel and how it truly hasn’t changed very much over many centuries. 2

Then we reach the early 1830’s and we find that there are performances called Minstrel shows. “The first minstrel shows were performed in 1830s New York by white performers with blackened faces (most used burnt cork or shoe polish) and tattered clothing who imitated and mimicked enslaved Africans on Southern plantations. These performances characterized blacks as lazy, ignorant, superstitious, hypersexual, and prone to thievery and cowardice.” 3 It is important to note that when the word “Minstrel” originated, that person or persons were not being used to humiliate an entire race. We also need to be educated that the word “Minstrel” had not become popular with the definition of blackface until the 1800’s.

Continuing with blackface in the 1800’s, this small clip from a newspaper article in 1856 is quite the shocker. The parts that stood out to me were how “cheap” the entries to the shows were and that they essentially happened daily. The specific group that was performing that night were called the Campbell Minstrels and a few songs from their set lists include: “Darkies on the levee,” “Old Dan Tucker,” “Gold versus postage stamps,” and plantation scenes.

 

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Folk Music and Square Dancing: Expression of Rural Whiteness

In 1939, John Lomax and his wife Ruby Terrill Lomax set out on an adventure into the homes and communities of the American South to collect folk music. Their trip documented music that had developed in the American South and stood as a symbol of southern rural white culture. Their collection of recordings includes the American classic “Turkey in the Straw” performed by Elmo Newcomer and his son Theo Newcomer, available below. 1The song represents the simplicity of the “down home” feeling represented in folk music.

Like much folk and country music, “Turkey in the Straw” features both the banjo and the fiddle. Although folk and country music are often considered white genres , the presence of the banjo indicates the influence of the African American community, as the banjo has African origins.2 In addition to standing as a representative of traditional Southern music, the song features the duple meter and 16-bar units popular to bluegrass music These features indicate how this song and others like it influenced later Southern and Appalachian Mountain music.

“Members of the Bog Trotters Band, posed holding their instruments, Galax, Va. Back row: Uncle Alex Dunford, fiddle; Fields Ward, guitar; Wade Ward, banjo. Front row: Crockett Ward, fiddle; Doc Davis, autoharp” in Lomax Collection (Galax, Virginia: 1937 )http://www.loc. gov/pictures/collection/lomax/item/2007660127/ (accessed February 25, 2018).

“Bent Creek Ranch Square Dance Team dancing at the Mountain Music Festival, Asheville, North Carolina” in Lomax Collection (Asheville, North Carolina: 1938-1950) http://www.loc.gov/pictures/ colle ction/lomax/item/2007660059/ (accessed February 26, 2018).

This recording, performed in the Newcomers’ home, demonstrates how folk music was part of the lives of the poor rural family and the community. The lyrics in the Newcomers’ performance, “Went out to milk/ And I didn’t know how/ I milked the goat/ Instead of the cow” reflect the everyday lives of rural white farm families.

In addition to being performed in their homes, the themes of this classic song related to the rural farm community at large. White rural Southerners shared this music at gatherings and this song like many other folk songs were popular square dancing tunes. Square dancing has been a tradition in the Appalachian Mountains since the 19th century.4 One place that folk music and square dancing came together is at the  Mountain Music Festival in North Carolina. This gathering and the general union of folk music such as “Turkey in the Straw” and square dancing celebrates folk music and the “down home”, simple lives of the rural white communities.

As we discussed in class, this song like many other folk and country songs gave rural Southern whites a voice, art, and setting to express their culture. This often came at the expense of the black community who were excluded from the memory of folk music by the music industry and scholars such as John Lomax.

Newcomer, Elmo and Bill Newcomer, “Turkey in the Straw” in John and Ruby Lomax 1939 Southern States Recording Trip (Pike Creek, Texas: 1939) http://www.loc.gov/item/lomaxbib00159/ (accessed February 25, 2018).

2Allen, Ray. “Folk Musical Traditions” in Encyclopedia of American Studies, edited by Simon J. Bronner (Baltimore: John Hopkins University Press, 2017) http://eas-ref.press.jhu.edu/view?aid=650&from=search&query=square%20dance&link=search%3Freturn%3D1%26query%2520dance%26section%3Ddocument%26doctype%3Dall (accessed February 26, 2018).

3 Root, Deanne L., Linda Moot, and Pauline Norton. “Square-Dance”, in Oxford Music (2001), http://www.oxfordmusiconline.com/grovemusic/vieew/10.1093/gmo/9781561592630.001/omo-9781561592630-e-0000026476?rskey=pkHftn&result=1 (accessed February 26, 2018).

4 Ibid.

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.

Zip Coon…Dance Tune?

Almost all of us know the melody of “Turkey in the Straw,” whether singing it at summer camp when we were kids or singing along with The Wiggles before school. The song “Zip Coon” is also based off of same melody and was most popular in the 1830’s and 40’s when it was sung in minstrel shows to depict the “coon” stereotype. Despite its controversial racist lyrics, the melody is catchy and works well for dancing.

When minstrelsy was becoming popular, so were the tunes that were being performed. What better way for people to enjoy these famous songs but to dance to them as well? One of the popular dance forms during the 1840’s was the quadrille, which is related to square dancing today. It contained six parts and four couples would dance in a square formation. This composition features six popular tunes from minstrel shows, including “Zip Coon” and “Jim Crow,” and uses these tunes as the six parts of the quadrille. The cover features depictions of many famous minstrel show stereotypes.

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By the 1920’s, slavery was abolished with the Thirteenth Amendment to the Constitution in 1865 following the American Civil War. However, segregation remained strongly prevalent throughout the United States. The mindset of white supremacy among non-African American citizens pervaded even into their music. In this arrangement of “Turkey in the Straw” by Otto Bonnell and arranged by Calvin Groom, the cover of the sheet music features an African American man playing a banjo.

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Or so it seems.

Upon closer inspection, the depiction of the man is clearly referencing blackface. When compared with the cover of “The Crow Quadrilles,” the large eyes and clown-like red lips are a means of hearkening back to the “good old days” of minstrelsy. The man is also missing teeth and his hands have an animalistic quality to them, characterizing the African American as less than human.

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The tune of “Turkey in the Straw” is set as an innocuous foxtrot in this arrangement with no racial implications. However, with the cover depicting African Americans in such a condescending fashion, it is clear the intent of the music is to invoke a feeling of nostalgia to a time when white men owned slaves. In that case, this piece is not any less offensive today than “The Crow Quadrilles.” Instead of titling it “Turkey in the Straw,” it may have just as well been labeled as a foxtrot based on “Zip Coon.”


1. Ashley, Robert. “The Crow Quadrilles.” New York City, NY: C.T. Geslain, 1845. http://digital.library.temple.edu/cdm/ref/collection/p15037coll1/id/6875.

2. Bonnell, Otto. “Turkey in the Straw.” Arr. by Calvin Grooms. New York City, NY: Leo Feist Inc., 1921. http://digital.library.msstate.edu/cdm/ref/collection/SheetMusic/id/24823.