The minstrel show, or minstrelsy, was an American entertainment consisting of comic skits, variety acts, dancing, and music, performed by white people in blackface or, especially after the Civil War, black people in blackface.
Minstrel shows lampooned black people in mostly disparaging ways: as ignorant, lazy, buffoonish, superstitious, joyous, and musical. The minstrel show began with brief burlesques and comic entr'actes in the early 1830s and emerged as a full-fledged form in the next decade. By the turn of the century, the minstrel show enjoyed but a shadow of its former popularity, having been replaced for the most part by vaudeville. It survived as professional entertainment until about 1910; amateur performances continued until the 1960s in high schools, fraternities, and local theaters. As blacks began to score legal and social victories against racism and to successfully assert political power, minstrelsy 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 stock characters, 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.
Blackface minstrelsy was the first distinctly American theatrical form. In the 1830s and 1840s, it was at the core of the rise of an American music industry, and for several decades it provided the lens through which white America saw black America. On the one hand, it had strong racist aspects; on the other, it afforded white Americans a singular and broad awareness of significant aspects of black-American culture.
"THE MUSICAL" by Richard Kislan