Interlocutor (music)

The minstrel show, or minstrelsy, was an American form of racially charged entertainment developed in the early 19th century. Each show consisted of comic skits, variety acts, dancing, and music performances that mocked people specifically of African American descent. The shows were performed by white people in make-up or blackface for the purpose of playing the role of black people. There were also some African-American performers and all-black minstrel groups that formed and toured under the direction of white people.

Minstrel shows lampooned black people as dim-witted, lazy, buffoonish, superstitious and happy-go-lucky.

Minstrel shows emerged as brief burlesques and comic entr'actes in the early 1830s and were developed into full-fledged form in the next decade. By 1848, blackface minstrel shows were the national artform, translating formal art such as opera into popular terms for a general audience.

By the turn of the 20th century, the minstrel show enjoyed but a shadow of its former popularity, having been replaced for the most part by vaudeville. The form survived as professional entertainment until about 1910; amateur performances continued until the 1960s in high schools and local theaters. The genre has had a lasting legacy and influence and was featured in a television series as recently as the late 1970s. Generally, as the civil rights movement progressed and gained acceptance, minstrels lost popularity.

The typical minstrel performance followed a three-act structure. The troupe first danced onto stage then exchanged wisecracks and sang songs. The second part featured a variety of entertainments, including the pun-filled stump speech. The final act consisted of a slapstick musical plantation skit or a send-up of a popular play.

Minstrel songs and sketches featured several , most popularly the slave and the dandy. These were further divided into sub-archetypes such as the mammy, her counterpart the old darky, the provocative mulatto wench, and the black soldier. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated. Spirituals (known as jubilees) entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy.

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