000			04242cam a2200697Ki 4500
001			ocn884725834
006			m o d
007			cr cnu---unuuu
008			140728s2014 ilua ob s001 0 eng d
040			_aN$T _beng _erda _epn _cN$T _dP@U _dIDEBK _dJSTOR
019			_a884547515
020			_a9780252096112
020			_a0252096118
020			_a1306980917
020			_a9781306980913
020			_z9780252038259
020			_z0252038258
020			_z9780252079832
020			_z0252079833
037			_a629342 _bMIL
037			_a22573/ctt72b73t _bJSTOR
043			_an-us---
050		4	_aE443 _b.T49 2014
072		7	_aSOC _x005000 _2bisacsh
072		7	_aHIS036040 _2bisacsh
072		7	_aPER003000 _2bisacsh
072		7	_aSOC001000 _2bisacsh
082	0	4	_a390/.250973 _223
084			_aSOC001000 _aPER003000 _aHIS036040 _2bisacsh
049			_aTEXA
090			_aE443 _b.T49 2014
100	1		_aThompson, Katrina Dyonne.
245	1	0	_aRing shout, wheel about : _bthe racial politics of music and dance in North American slavery / _cKatrina Dyonne Thompson.
264		1	_aUrbana : _bUniversity of Illinois Press, _c2014.
300			_a1 online resource (x, 242 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aJSTOR eBooks
520			_a"In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved. As Thompson shows, however, blacks' "backstage" use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion. Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots"-- _cProvided by publisher.
504			_aIncludes bibliographical references and index.
505	0		_aThe script : "Africa was but a blank canvas for Europe's imagination" -- Casting : "They sang their home-songs, and danced, each with his free foot slapping the deck" -- Onstage : "Dance you damned niggers, dance" -- Backstage : "White folks do as they please, and the darkies do as they can" -- Advertisement : "Dancing through the Streets and act lively" -- Same script, different actors : "Eb'ry time I weel about, I jump Jim Crow" -- Epilogue : the show must go on -- -
546			_aText in English.
588			_aDescription based on print version record.
650		0	_aSlaves _zSouthern States _vSongs and music.
650		0	_aSlaves _zUnited States _xSocial life and customs.
650		0	_aRace in the theater _zUnited States _xHistory.
650		0	_aTheater and society _zUnited States _xHistory.
650		0	_aAfrican American dance _xHistory.
650		0	_aSlavery _zUnited States _xJustification.
650		0	_aPlantation life _zUnited States.
650		0	_aRacism in popular culture _zUnited States _xHistory.
776	0	8	_iPrint version: _aThompson, Katrina Dyonne. _tRing shout, wheel about _z9780252038259 _w(DLC) 2013032131 _w(OCoLC)861676493
856	4	0	_uhttps://ezproxy.uttyler.edu/login?url=http://www.jstor.org/stable/10.5406/j.ctt7zw5wh _yClick here to view this ebook.
901			_aJSTOR DDA
938			_aEBSCOhost _bEBSC _n816323
938			_aProject MUSE _bMUSE _nmuse32434
938			_aIngram Digital eBook Collection _bIDEB _ncis28680262
942			_cEBOOK _2lcc
999			_c863768 _d868193