Darkology: The Racist History of Blackface in American Entertainment

The history of blackface minstrelsy in America, long understood as a deeply racist performance tradition, runs far deeper than many realize. A new book, Darkology: Blackface and the American Way of Entertainment by historian Rhae Lynn Barnes, reveals the astonishing extent to which amateur blackface permeated American life well into the 20th century, and how its imagery and rhetoric continue to resonate today. Barnes’s research, detailed in a recent NPR interview, uncovers a hidden history of widespread participation in blackface performances, even within seemingly innocuous community groups and institutions.

Barnes encountered a significant obstacle during her research at the Library of Congress in 2013: primary sources on the subject were mysteriously “missing from the shelf.” A librarian later confessed to having hidden the materials in 1987, fearing they would be used by the Ku Klux Klan. This incident underscores the sensitivity surrounding the topic and the deliberate attempts to obscure its full history. The recovered materials ultimately formed the foundation of Darkology, which traces the origins of minstrel shows and their evolution into a pervasive form of entertainment.

The Rise of Amateur Blackface

Minstrel shows, originating in the 1800s, quickly became immensely popular. What’s less known is the proliferation of “step-by-step guides” published by minstrel stars, enabling amateurs to stage their own performances. By the turn of the century, amateur blackface had turn into a widespread pastime, embraced by fraternal orders, PTAs, police and firemen’s associations, and even soldiers on military bases. This wasn’t simply a fringe phenomenon; it was deeply embedded in the social fabric of the time. Barnes’s work demonstrates that blackface wasn’t confined to professional stages, but was actively practiced and perpetuated by ordinary Americans.

During the Great Depression, the Works Progress Administration (WPA), under President Franklin D. Roosevelt, even sought to “preserve American heritage” by promoting blackface. The government distributed lists of “top minstrel plays” to schools, charities, and colleges. Remarkably, Roosevelt himself co-wrote a script for a blackface performance intended for children with polio, highlighting the widespread acceptance of the practice even at the highest levels of government. As Barnes explains in her NPR interview, this demonstrates how deeply ingrained blackface was in American culture.

Echoes of the Past in Contemporary Rhetoric

The legacy of blackface extends beyond the performance itself, manifesting in contemporary political rhetoric. Barnes points out that slogans like “Make America Great Again,” “This Is Our Country,” and “Take Back Our Country” were commonly used in minstrel shows. These phrases were often associated with narratives that romanticized slavery and depicted a nostalgic vision of a past where white Americans held unchallenged power. The echoes of these sentiments in modern political discourse are unsettling, suggesting a continuity of racial anxieties and exclusionary ideologies.

Barnes likewise notes that minstrel shows frequently portrayed scenarios where Black characters gained political power and then implemented policies that were detrimental to white Americans – such as disarming the population. These narratives served as thinly veiled warnings against Black empowerment and fueled racial resentment. The parallels to contemporary political anxieties are striking.

The Role of Stein’s Makeup and the Commercialization of Blackface

The accessibility of blackface was significantly increased by the commercialization of makeup specifically designed for the practice. Companies like Stein’s offered a range of shades – 29 in total – allowing performers to choose their desired level of racial caricature. This made it easier than ever for amateurs to participate in blackface, as it eliminated the messy and unreliable practice of using burnt cork and shoe polish. The fact that these companies continued to exist, even into the modern era, supplying makeup for Halloween costumes and other uses, underscores the enduring presence of blackface imagery in American culture.

The Fight Against Blackface and the Work of Mothers

Barnes credits the civil rights era, and particularly the efforts of mothers, with playing a crucial role in dismantling blackface. Beginning in the 1970s, these activists successfully campaigned to remove blackface performances from school curricula and challenge its presence in broader society. Their tireless work led to the decline of publishing houses that produced minstrel show scripts and materials. This grassroots movement demonstrates the power of collective action in challenging deeply ingrained prejudices.

Preserving a Challenging History

Barnes emphasizes the importance of confronting this difficult history, even – and especially – when it is uncomfortable. She argues that historians have a patriotic duty to ensure that the American public has access to a complete and nuanced understanding of the past. As an Assistant Professor of History at Princeton University, Barnes believes that understanding the complexities of the past is essential for building a more just and equitable future.

The work of uncovering and understanding this history is ongoing. Barnes’s research highlights the need for continued investigation into the ways in which blackface has shaped American culture and continues to influence contemporary attitudes and beliefs. Further research is needed to fully understand the extent of its impact and to develop effective strategies for dismantling its lingering legacy. The Library of Congress, as a repository of historical materials, will continue to play a vital role in making these resources accessible to scholars and the public.

The conversation surrounding Darkology and the history of blackface is a crucial step towards a more honest and informed understanding of America’s racial past. It’s a reminder that confronting uncomfortable truths is essential for progress and that the fight for racial justice is far from over.